
^N 6371 jgfl§ jlgf 



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LIBRARY OF CONGRESS. 



©lap ©tqtljttj^t If u t 

Shelf..T5-7-~ 

UNITEB STATES OF AMERICA. 



(JOUNG FOLKS' 



BNTERTaiNMBNTS, 



COMPRISING 



Motion SoNgs, Charades, Pantomimes, Tableaux, Concert 
Recitations, Drills, Etc., Etc., 



WRITTEN EXC£US^EI^> FO©' THIS WORK BY 



"There's no want of meat, sir! portly and curious viands are prepared to please 
all kinds of appetites." — MAssiNGERi 



Publication Department, \0£j waSH^ 
The National School of Elocution and Oratory, 

philadelphia. 




fHb3T 



Entered according to Act of Congress, in the'year 1886, by 

THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY, 

In the office of the librarian of Congress, at Washington. 



/* 



3Tofy 



PREFACE. 



"|l /TIJCH experience in the preparation of school enter- 
-"^- tainments, has shown the great difficulty of finding 
new material of just the right quality for presentation. 
These entertainments have multiplied to such an extent 
during the last few years, that the good and sprightly 
matter contained in the old books has been used and 
re-used, until a fresh supply seems to be an imperative 
demand. 

This little work has been prepared with the design of 
partially supplying this demand, and much care has 
been taken to make of it, a book meet for the purpose. 
School entertainments of the present time generally 
present a much more varied performance than of old, 
and the call for variety has been met in this book, by 
the careful preparation of motion-songs, drills, charades, 
concert recitations, and tableaux. 

The dialogues and recitations have also been prepared 
with care and thought, and the preservation of a pure, 
moral tone throughout them, has been kept ever in 
view, since it is not possible to be too careful in this re- 
spect, in preparing matter for use by young minds. 

3 



4 PREFACE. 

Nearly all the numbers given are suited to produc- 
tion on the common school stage, requiring not many 
auxiliaries in the form of dressing-room, costumes, or 
stage properties. 

In order to be sure that they are what they were 
designed and desired to be, many of the numbers have 
been given a practical trial upon the school stage at 
entertainments. 

Ample explanations have been given, wherever they 
were deemed necessary to simplify any difficulty in 
arrangement. 

A classification of the numbers, under appropriate 
heads, has been made to modify the task of " looking 
over " for just the style of article needed. 

With this statement of the aim and method of the 

work, Young Folks' Entertainments is sent forth 

to speak for itself. 

E. C. Kook, 

L. J. Kook. 
August, 1886. 



CONTENTS. 



ACTING CHARADES. 

PAGE 

Keystone, 5 

Package, 8 

Idolize, 12 

Breakfast, 15 

Pious , . . . 19 

CHARADES IN PANTOMIME. 

Phantom, 26 

Bandage, 27 

Parent, 27 

Waylaid, 28 

Rainbow, 29 

SHADOWS. 

Scenes, 30 

MOTION SONGS. 

Old Time Plays, ^. . 31 

The Snow Brigade, 34 

The Rainy Day, t 36 

Good Advice, 38 

DIALOGUES. * 

Playing Store, 39 

Tom's Practical Joke, , 42 

Aunt Kitty's Shopping, 45 

How the Quarrel Began, 49 

Masquerading , 51 

Unjust Suspicion, 53 

An Illustrated Story, 59 

Visitors from Story Land, 61 

Poor Work Don't Pay 65 

TABLEAUX. 

Going to the Train, 68 

On the Train, 68 

Evening Prayer, 68 

Grandma's Schooldays, 68 

Counterfeit Money, 69 

He Loves Me : He Loves Me Not, 69 

V 



VI CONTENTS. 

PAGE 

Too Hot, C9 

Playing Doctor, 69 

I Wonder Whom it is From ? 70 

Playing Grandma, 70 

Old Time Lovers, . . . 70 

A Free Smoke, 71 

Before the Explosion, 71 

After the Explosion, 71 

READINGS AND RECITATIONS. 

What they Said, T 72 

My Best Friend, 73 

Ned's Best Friend, 74 

The New Toy 75 

A Little Speech, 75 

Catch the Sunshine, 76 

Christmas Bells, 77 

A Troublesome Visitor 78 

Be Polite 80 

My Dog, 80 

Opening Address, 81 

Who Made the Speech ? 82 

Moving, ' 83 

Baby's Drawer, 84 

Phil's Complaint 85 

The Lost Kitty, 86 

Sixty Years Ago 87 

Composition on Animals, 88 

Sammie— Sallie, . . .^ 90 

CONCERT RECITATIONS. 

Proverbs 91 

The Kittens, 94 

Our Flag, 95 

Our Work, 97 

The Farm Boys' Song, 97 

MOTION RECITATIONS IN CONCERT. 

Little Housekeepers, • • 98 

In the Morning, ]00 

We are Four, 101 

Looking Ahead, 104 

DRILLS. 

Japanese Fan Drill, 106 

Tambourine Drill, 109 

A Simple March, 114 



YOUNG FOLKS' ENTERTAINMENTS. 



ACTING CHARADES. 



KEYSTONE. 

Act First. — Key. 

Scene. — A school-room, with not less than thirteen 

scholars, some seated studying, others standing in groups, 

or walking up and down with their books open before 

them. 

Laura (looking up from a book and glancing at the 
clock). — Miss Marshall is late this morning, isn't she ? 

Lulu. — Yes. I wish she wouldn't come at all. 

Ned. — So do I ; then we wouldn't have to worry over 
our lessons to-day. 

Laura. — There comes Joe Watson. He looks as if he 
had been worrying about something. (Enter Joe.) 
What's the matter, Joe.? 

Joe. — Matter enough. Did any of you see the Key 
to my Arithmetic lying around loose as you came to 
school this morning ? 

Fanny. — Your key ? h'm ! No wonder you always 
have your examples right. 

Joe. — I don't copy the answers, anyhow. 

Lulu. — I suppose not. You only use the key as a 
sort of guide, don't you ? 

Joe. — Of course I do. But you haven't answered 
my question yet. Do you know anything about it? 

Fanny. — When did you lose it ? 

5 



6 YOUNG FOLKS ENTERTAINMENTS. 

Joe. — I think it must have slipped from under my 
arm when I was going home last night. 

Ned % — That just reminds me. I did see a man pick 
up a key last night as I was going down the street. 

Joe. — You did ? Who was it ? Do you know him ? 

Ned. — I do not know his name. He was an organ- 
grinder. 

Joe. — Are you sure it was a key ? 

Ned. — If it wasn't I'll never trust my eyes again, but 
I don't believe it was yours. 

Joe. — What kind of a key was it ? Had it a brown 
back? 

Ned. — No, it had a gray back. It was a mon-key. 
{All laugh.) 

Joe. — I've a great mind to throw this book at your 
head. {Holds the book as though going to throw it) 

Laura. — Wait until we get out of the way, please. 
[Curtain falls.] 

Act Second. — Stone. 

Same Scene. — Noon intermission — Scholars eating their 

lunch, reading, etc. 

\JEnter Joe, carrying a good sized stone."] 

Laura. — Oh, girls, look what Joe has. What are 
you going to do with that stone, Joe ? 

Fanny. — I hope you are not going to throw it at Ned 
for teasing you this morning. 

Joe. — Don't be frightened. This is my contribution 
toward the lesson we are to have this afternoon on 
Minerals. 

Ned. — Sure enough ! Miss Marshall did ask us to 
bring specimens. I forgot all about it. 

Laura. — And so did I. 



YOUNG FOLKS ENTERTAINMENTS. 7 

Lulu.— I brought a little piece of soft coal. 

Mary. — And I have a beautiful variegated stone that 
I brought from Luray Cave last summer. 

Joe. — Good for you. Suppose I go around among all 
who are here, and see how many specimens I can collect 
for Miss Marshall. 

Ned. — That's a good idea. Take my hat. 

{Joe takes hat and passes it around among the scholars, 
collecting a number of stones, which he piles upon a table. 
The school bell is heard and curtain falls.} 

Act Third. — Keystone. 
Same Scene. — Morning before school-time. 

Kate. — Do you know your geography lesson, girls ? 

Lulu. — I don't. I haven't looked at it. 

Fanny. — Neither have I. What's it about ? 

Ned. — That's a pretty question. You had better ask 
Miss Marshall. 

Laura. — It is not a very difficult lesson — chiefly about 
the Keystone State. 

Lulu. — The Keystone State ! What's that ? I never 
heard of it before. 

Joe.— Nevertheless, you have lived in that State a 
number of years, I believe. 

Ned. — And in a state of ignorance, too. 

Imlu. — Oh, you mean Pennsylvania, do you ? Why 
didn't you say so in plain English ? 

Fanny. — Why do they give it such a name, I wonder. 

Kate. — Well, I will try to explain it to you. 

Laura. — I say, Kate, suppose we make a practical 
illustration of it. There's nothing like illustration for 
making a deep impression, you know. Doesn't that 
sound like Miss Marshall ? 



8 YOUNG folks' entertainments. 

Ned.— A little. 

Kate. — Well, have we thirteen scholars here of about 
the same size ? 

Laura. — We'll want one tall one. 

Joe. — I'll count heads. Two, four, six, eight, ten, 
twelve. Oh, yes, we've lots of 'em. Now, what are you 
going to do with 'em ? 

Laura. — We're going to represent the Thirteen 
Original Colonies. We'll form an arch. You two, Joe 
and Ned, can be the end men. Ella Gray, being the 
tallest girl here, must take the central position — the 
highest point being the keystone of the arch. 

Ned. — Come forward, Ella, and let's see what kind of 
a Pennsylvania you'll make. 

Laura. — Very good. Now the rest take places form- 
ing an arch. ( They quickly do so.) 

Fanny. — Now I'm beginning to see what you mean. 

Kate. — Stand perfectly still, all of you. Here comes 
Miss Marshall. We'll give her a surprise. 
(The arch makes a pretty tableau, the effect of which may 

be heightened by having a red light thrown over it.) 
[Curtain falls.] 



PACKAGE. 



Scene 1— Pack. 
Scene 2— Age. 
Scene 3— Package. 



{Helen. 
Irene. 
Russell. 



Scene One. 



Helen (kneeling on the floor with an open valise 
before her, which she is packing). — Oh ! dear, I fear I 
can never get all these things into this small valise, and 



YOUNG folks' entertainments. 9 

I do not want to take a trunk, as I am to stay so short a 
time. 

Irene (entering). — Why, Helen, what are you 
about ? Are you going away ? And why that distressed 
expression of countenance ? 

Helen. — One question at a time, please. Yes, I am 
to go to my grandfather's, a short distance out of town, 
for a few days, and my distress arises from my inability 
to pack all these clothes into this valise. 

Irene. — But why take so many ? 

Helen. — Because it is to be a time of festivity at the 
old homestead. My Cousin Russell, who has always 
lived at Grandpa's since his mother's death, attains his 
majority in three days, and there will be loads of com- 
pany to do honor to the occasion. 

Irene. — Ah ! then 'tis a duty as well as a pleasure for 
you to be well dressed, and, in such a case, I will offer 
my valuable assistance to help you pack. Do you know 
it is quite an art to pack a valise properly ? 

Helen. — An art in which I am woefully deficient, so 
lend a hand to help the needy in distress. 

Irene (proceeding to put things in neatly and com- 
pactly).— Practice makes perfect in this as in other things, 
and I have had my full share of practice. I've packed 
trunks, packed boxes, packed lunch-baskets, packed 
everything, till I'm perfectly at home in the work. 
Nothing like a large family of brothers and sisters to 
aid one in becoming an expert. 

Helen. — I have bought a birthday present for Russell, 
but it is to be sent out by express on the important day, 
so I do not have that to bother with. 

Irene.— There, your clothes are in, all right! Are 
you not glad I came in at the right moment ? 



10 YOUNG FOLKS' ENTERTAINMENTS. 

Helen. — Yes, indeed! Thank you, thank you. I'll 
know where to turn for aid the next time I am in need 
of some one to help me — pack I 

Scene Two. 
Place — Grandpa 's parlor. Time — Morning. 

Helen. — So, Cousin Kussell, this day brings you to the 
title and estate of manhood ! Twenty-one to-day ! Don't 
you begin to feel the responsibility of your age ? 

Russell. — With my fair Cousin Helen to tutor me, 
how can I fail to realize that I am a man — legally a 
man. Not that I feel any older than I did yesterday ! 
This " coming of age" arrived just as easily and naturally 
as any event possibly could. 

Helen. — Why, of course ! But I think it must be just 
splendid to be a man, a young man with every good 
thing to look forward to, as the goal to which his own 
efforts may carry him. Not but that I am very well 
satisfied to be a girl, myself. 

Russell. — Yes, I must say, I am eager for the fray, 
for the contest with the world and Dame Fortune, which 
shall lead me to — success. Of course, I don't look for 
any other result. 

Helen. — I certainly wish you every good fortune. 
But I must not stand here talking. There's everything 
to be done to-day to make ready for that grand party of 
yours this evening, that is to celebrate your coming of 
age. Will you come and help me with the dining-room 
decorations? That is what I came to ask you. 

Russell. — Certainly, my dear cousin, I'll come ! I'm 
not proud, notwithstanding my great superiority in point 
of — age. 



young folks' entertainments. 11 

Scene Three. 
Time — Afternoon. 

Helen (alone, getting up to look out of the window). — 
Why doesn't that present for Russell come? I'm getting 
nervous over its delay. I will be so very much disap- 
pointed if it fail to arrive before night. ( Walking 
restlessly up and down.) Why don't it come? 

Russell {entering). — Ah! here you are. I've been 
looking for you. {Helen looks out of the window.) What 
are you looking for ? You seem excited. 

Helen. — Oh ! nothing, nothing ! {Looks again.) 

Russell.' — Are you expecting some " nearer one still, 
and dearer one yet than all other/' that you seem so 
impatient ? 

Helen. — No, of course, not. How absurd you are ! 
{Looks out again, and in a tone of relief) There he is 
now. How glad I am. {Runs out) 

Russell. — Well, that's cool! She expects no one, yet 
says, " There he is," as if a paradise had opened to her 
view. I wonder what is the matter with her. {Looks 
out.) I do not see any one who could possibly interest 
her. 

Helen {re-entering with a large package). — There, 
sir, you do not deserve it because of your teasing, but 
you have had my congratulations on this great occasion, 
and now you will find a more substantial token of my 
cousinly esteem, if you will condescend to accept and 
open this — package. 



12 YOUNG folks' entertainments. 



IDOLIZE. 



For four girls and one boy— Bertha, Clara, May, Grace, and Fred. 

Scene First. — I (eye). 

Bertha (sitting in a large chair, with her eye bandaged). 
— Oh, dear ! Now for another long, tiresome day, I 
suppose. The doctor says I must not read, and I have 
nothing to do but sit here and grumble. I do wish 
something would happen, — I'd be willing to — (a knock 
is heard). Come in. (Aside.) I wonder who it is. 

\Enter Clara.'] 

Clara. — Why, my dear Bertha ! ( Going up to her 
and kissing her.) How are you to-day? I heard you 
were sick, and I've come to stay with you awhile. 

Bertha. — Oh, how delightful ! No, I am not exactly 
sick, but in some way I have hurt my eye and the 
doctor says I must not use it for a long time. I can't 
read, I can't write, I can't study, and I can't go out of 
the house. 

Clara. — My ! what a horrid lot of can'ts. Now let 
me hear what you can do. 

Bertha. — Well, I can talk, for one thing. The injury 
to my eye hasn't hurt my tongue any, I'm happy to 
say. 

Clara. — So I see, and I suppose you can play too — 
quiet plays, can't you ? 

Bertha. — Why, yes, anything that doesn't tax my eye. 
That's what the doctor said. 

Clara. — Well, I have a plan. You sit here and be an 
invalid — that's what they call a person that's not very 



YOUNG folks' entertainments. 13 

sick, you know — and I'll bring a surprise party to your 
house. 

Bertha. — Whom will you bring ? 

Clara. — Oh, that's the surprise. You mustn't ask 
questions. 

Bertha. — Then how will I know how to play ? 

Clara. — All you have to do is to sit in this chair and 
receive us when we come in. I'm going now to get 
ready. I will be back soon. 

[Exit Clara.~\ 

Scene Second. — Dol {doll). 

{Bertha lying back in the chair with her eye still ban- 
daged. Enter Clara, followed by two little girls — May 

and Grace.) 

Bertha {springing up). — Why, Clara, this is a real 
surprise party. Where did you all come from ? 

Clara. — Not very far away. 

May {carrying a doll). — See what we have brought 
you, Bertha. 

Bertha. — Oh, how lovely. Is it for me ? 

All. — Yes, for you alone. 

Grace. — We thought it would be company for you 
while you are kept from school. 

Bertha. — How kind. I know I shall love my doll. 
What beautiful hair and eyes it has. 

May. — Take good care of it, and don't let it get sick. 

Scene Third. — Ize {eyes). 

Bertha {holding her doll, whose eyes are bandaged with 
a handkerchief, and humming softly) — 

" Hush, my dear, lie still and slumber, 
Holy angels guard thy bed." . - ' ' 



14 YOUNG folks' entertainments. 

There, my darling, you will be better soon, I hope. 
Hark ! some one is knocking. Come in. 

\Enter Clara, May, and Graced] 

Bertha, — Oh, girls, my baby's very sick. 

Girls. — Why what's the matter with her, Bertha ? 

Bertha. — Oh, an awful thing — in-flam-ma-tion of the 
eyes. I saw that word in my speller. 

Grace. — Dreadful ! How did she get it ? 

Bertha.— Caught it from me, I guess. Such things 
are caughting, you know. 

May. — Catching, you mean. 

Bertha. — Yes, that's what I mean ; but she is worse 
than I am, for she has it in both eyes, while I have it 
only in one. {Pressing her doll close to her.) There, my 
little darling, don't you cry. What would I do if I 
should lose you ? 

Clara. — We will go now and send the doctor. 

Grace. — We will call again in a little while to see how 
your darling is. 

[Exit Clara, Grace, and May. Bertha retires by another 

door.~] 

Scene Fourth. — I-dol-ize. 

{Curtain rises, disclosing the four girls, kneeling around 
the doll, which is lying upon a small bed, or chair.) 

{Enter Doctor. Placing his hand upon the dolVs head.) 
Madam, the crisis is passed. 

Girls (rising). — Oh, doctor, what do you mean ? 

Doctor. — The child will live. 

Bertha. — Oh, I could cry for joy. Thank you, doctor, 
for saving my precious baby ; the baby I so idolize. 

Clara. — We all thank you, doctor, for that darling 
child is the idol of our hearts. 



YOUNG folks' entertainments. 15 

Doctor.— That should not be. No mother should 
idolize her child. It's very wrong, ladies, very wrong. 
But I must be going ; other babies need me. Good-day. 
All. — Good-bye, doctor. 
Bertha (to the audience). — 

Now, you who this charade have heard, 
May have a chance to guess the word. 

[Exit all.~\ 



BREAKFAST. 

For Two Little Girls and One Boy. 

Act First. — Break. 
Scene. — A sitting-room. 

(Mary standing in the centre of the floor holding the body 
of a doll in one hand and its head in the other. Grace, 
a little distance from her, looking sorrowfully at the doll 
and holding her own doll in her hand.') 

Mary (in a loud, angry tone). — You're a mean, hateful 
girl — I don't like you, and I'll never speak to you again. 
My beautiful, beautiful doll ! 

Grace. — Indeed, Mary, I didn't mean to break it. 
You don't know how sorry I am. 

Mary. — You're not sorry. I believe you did it on 
purpose, and I wish you would go home. 

Grace. — Can't you stick the head on ? 

Mary. — Stick it on ! No, it would fall right off again. 
I tell you it's a break, and that's the end of it. 

Grace. — I'm sorry you lent it to me. 

Mary. — So am I ; you're a naughty, careless little 
girl. 



16 YOUNG FOLKS' ENTEETAINM. .NTS. 

Grace. — Will you have my Rosie, instead? (offering 
her own doll). She's not so pretty as yours was, but she's 
nice. 

Mary. — Have Rosie ? Why, she can't compare with 
my doll. No, I want my own, and you have spoiled it. 

Grace. — Maybe mamma will give me money to buy 
you a new one ; I'll go and ask her ; where's my hat ? 
{crying as she turns to go). 

[Enter George.~] 

George. — Hey-day ! What's the matter here ? This 
is a pretty tableau — gentle Gracie crying, and my spit- 
fire of a sister there looking like a small thunder-storm. 

Mary. — Oh, look, George, what Gracie did. She 
pulled my poor doll's head off. 

Grace. — I didn't mean to break it, George. I only 
took hold of its head with my hand and it came right 
off. 

George. — Oh, you wicked little executioner ! Let me 
see the doll (Mary hands the body to him). Where is the 
head? 

Mary.— Here it is. 

George (taking the head and trying to fit it on the 
body). — A compound fracture, I should say ; but I'll be 
the doctor, and soon set this all right. 

Mary. — Can you mend it, George ? 

Grace. — I will be so glad if you can. 

George. — A little glue is all that it needs. 

Mary. — Then it isn't a very bad break ? 

George— I've seen worse. I just now saw one that 
beat this all hollow. 

Grace. — Where ? What was it, George ? 

George. — A break-down, or rather a break-up, on the 
car track', — carriage rtin into by a passenger car. It 



YOUNG folks' entertainments. 17 

was on a down-grade, and the driver couldn't put the 
brake on in time to prevent the crash. 

Mary, — Was any one hurt ? 

George. — No ; but the carriage was broken into 
flinders. I heard the driver say (he was an Irishman) 
he would take an axe and break his own shtupid pate 
before he would ride in front of the bloonderin' cars 
again. But I must be off now, and madam {turning to 
Mary), lend me the loan of your baby, and in a few 
hours she shall be restored to you, whole, and in her 
right mind. ( Goes out) 

[Curtain falls.] 

Act Second. — Fast 
Scene. — Same as first 

(Mary sewing baby clothes ; Grace sitting near her hold- 
ing her doll, Rosie, on her lap.) 

Mary. — See, this little dress is nearly done. Isn't it 
pretty ? 

Grace. — Very. How soon do you think George — I 
mean the doctor — will bring your daughter home? 

Mary. — I am looking for him every minute. Oh, 
there he comes, now. See how fast he is walking. 
(Enter George, carrying a doll like the one he took away. 
Cheap dolls can be used.) 

George. — Good afternoon, ladies. I have come as fast 
as my horses could bring me to restore to your arms, 
madam (addressing Mary), your precious babe, which I 
have been the means of rescuing from the very jaws of 
death. 

Mary. — Oh, thank you, doctor (takes the doll). 



18 YOUNG folks' entertainments. 

Grace. — Are you sure her head is quite fast ? 

George. — Try it and see. 

Mary (holding it by the head). — Look, Gracie, it seems 
to be as fast — 

George. — As a fish on a hook. 

Grace. — What a good George you are. 

George. — " What a good doctor you are," I guess 
you meant to say. ( Turning to Mary.) Do you think, 
madam, that your child is worth a thousand dollars to 
you ? for that is the amount of my bill. 

Mary. — You are rather fast in making your bill, I 
think. I shall not be £0 fast in paying you. 

George. — Well, we won't quarrel about it now — take 
your own time. I must go now (pulling out a watch). 
It's six o'clock, and I've had no dinner to-day. Quite 
a long fast for me. Good-bye. 

Both. — Good-bye. 
L ~ [Curtain falls.] 

Act Third. — Breakfast 

Same scene. 

( The two girls sitting with their dolls. Small table set for 

three.) ^ 

Mary. — I'm so glad you stayed all night, Gracie. You 
and George and I will have breakfast all by ourselves, 
for mamma and papa had theirs two hours ago, and have 
gone to New York (name the nearest town) to do some 
shopping. 

Grace. — Where is George ? 

Mary. — Not up yet. He's an awful lazy boy, Grace. 

Grace. — Is he lazy? I think he's a good brother, 
anyhow. I'm so glad he mended your doll. 

Mary. — Yes, he's good enough. (Enter George.) So 



YOUNG folks' entertainments. 19 

you've come at last, have you ? We are waiting break- 
fast for you. 

(All sit down at table. Mary pours out; they spread 
napkins on their laps and go through the motions of eating.) 

George. — This is what I like — to have breakfast ready 
for me just when I am ready for it. (Glancing at clock.) 
Eight o'clock, is it ? Well, that's time enough to break 
one's fast, isn't it, Gracie ? 

Grace. — It's time enough for me. 

Mary. — But remember school begins at nine, and 
we've some lessons to look over yet. 

George. — Bother the lessons ! I like coffee and bread 
better than books, and I am going to enjoy them while 
I can. 

Mary (rising). — Well, help yourself — we are going. 
Are you ready, Grace ? 

Grace (rising). — Yes, I'm ready. 

George (also rising).— I'm not going to be left here 
alone. That was a good breakfast, but you girls 
wouldn't let a fellow half appreciate it. 

Mary. — You can eat a double one to-morrow, George. 
Let's go into the library and study a few minutes, and 
then w T e'll get ready for school. 

[Exit.] 



PIOUS. 

For Three Girls and One Boy. 

Scene First. — Pie. 
(Julia standing at a table, ivith pie-board, flour, rolling- 
pin, etc., before her, holding an unbaked pie.) 
Jxdia. — There ! don't that look nice ? I know mamma 
thought I couldn't do this, and won't she be surprised 



20 YOUNG folks' entertainments. 

when she comes home and sees this pie all nicely baked. 
Who couldn't make a pie, I'd like to know ! It's the 
easiest thing in the world. Now, I never made one 
before, and I don't believe even mamma herself could 
have done better. (Voices are heard — Julia, where are 
you f) There come those troublesome children. I 
wonder what they want. 

[Enter Lulu and Oscar.~\ 

Lulu. — Oh, Julia, have you seen — (catching a glimpse 
of the pie) — Why, what are you doing ? Where did you 
get that pie ? 

Oscar. — You didn't make that, did you ? 

Julia. — Yes, children, I did ; and now I am going to 
put it in the oven, and when it is done you shall both 
have a piece. 

Lulu. — Let us look at it again, sister. Doesn't it 
look nice, Oscar ? 

Oscar. — Beautiful. Who showed you how to make 
it, sis ? 

Julia. — No one. Don't you suppose I know how to 
make a pie ? ( Carrying it away as if to put it in the oven.) 

Lulu. — Is it green apple ? 

Julia. — Yes, it's green apple, your favorite pie, Lulu. 

Oscar. — I say, sis, you're a jewel; but are you sure 
you put all the ingredients in ? 

Julia. — If by ingredients you mean salt and pepper, of 
course I did. I saw mamma season the pot-pie the other 
day, so I knew very well how to do that part of it. 

Oscar. — Well, the proof of the pudding — the pie, I 
mean — is in the eating ; and I'll be ready and willing to 
prove it well as soon as it's cool. 

Lulu. — You won't forget us when it's done, will you, 
Julia? 



YOUNG folks' entertainments. 21 

Julia. — No, Go out now and finish your game, and 
in about half-an-hour I think you can have a taste of it. 

Scene Second. — Us. 
{Julia sitting near the table, on which stands a baked pie.) 

Julia. — I wish mamma would come now, I am so 
anxious to show her this pie. I think she will be so 
pleased to know that I can do such things. 
[Enter Lulu and Oscar."] 

Oscar. — I say, Jule, is that pie baked yet ? Oh, yes ; 
here it is, Lulu ; just look at it. 

Lulu. — It's for us, Julia, isn't it ? 

Oscar. — Yes, sis, .you'll give it all to us, w T on't you ? 
We're so hungry. 

Julia. — That is just like you two. Give it all to us, 
indeed. Don't you think anybody else wauts a taste of 
my first pie ? 

Lulu. — You promised it to us. 

Julia. — Now, Lulu, that's not so. But you and Oscar 
are so selfish ; you think of no one but yourselves. It's 
" us, us " with you all the time. First, it's u Julia, won't 
you take us to the Park?" Then, "Please write an 
excuse for us for being late to school ;" or " Treat us to 
ice-cream," or do something else for us ; and now it's 
" Give the pie to us," and I'm tired of hearing that 
word " us " fifty times a day. 

Oscar. — Well, then, give the pie to we. Does that 
suit you any better? 

Julia. — Don't be pert. I'll give you each a piece 
now, although I did not want to cut it until mamma 
had seen it. ( Takes a knife and proceeds to cut it ) 

Oscar. — Cut good, generous slices, that's a dear, for I 
feel awful empty and faint. 



22 YOUNG folks' entertainments. 

Julia (handing each a piece). — There ; I hope that 
will satisfy you. (They both take a bite, bid evidently 
find it very tough, and after getting a mouthful they make 
very wry faces, and commence spitting it out and wiping 
their mouths, as if to get rid of the taste.) 

Julia (aghast). — What's the matter? Are you chok- 
ing? 

Oscar. — I say, Jule, what do you call this ? 

Lulu. — Oh, it's dreadful, Julia. 

Oscar. — You made this of old leather, and seasoned 
it well to make it go down, didn't you. 

Lidu. — I guess you forgot the sugar, Julia, and it 
doesn't taste as if it had any shortening in, either. 

Oscar. — Help yourself, Julia. You needn't save any 
more for us, for we, I mean. We won't be greedy. 
Come on, Lulu. [Exit Lulu and Oscar. .] 

Jxdia. — They're right, I never once thought of the 
sugar or lard. And I don't believe salt and pepper 
were just the right things to put in it, either. How 
glad I am that mamma hasn't come yet. I'll get rid of 
it right away, before she has a chance to see it. What 
a failure I have made, and I suppose I will never hear 
the last of it, either, from Oscar. I shall have to endure 
hearing him say a dozen times a day, at least, " Julia, 
have you any pie for us, for we, I mean." He's such a 
tease. (Picks up the pie and retires. ) 

Scene Third. — Pious. 

(Julia reclining in a chair. Enter Oscar and Lulu.) 
Oscar. — Oh, Julia, " if you have any tears, prepare to 
shed them now." Here comes that saintly Aunt 
Keziah from the village, and she's in her saintliest mood, 
too, judging by the way she walks. 



YOUNG folks' entertainments. 23 

Julia. — Oh, dear ! I wonder what sin we have com- 
mitted now, that she is coming to lecture us about. 

Oscar. — Maybe she has heard of that pie you baked 
this morning, and is coming to have you arrested for 
cruelty to children. 

Lulu. — Oh, Oscar, don't tease Julia. 

Julia. — Hush, children, here she is. 

{Enter Aunt Keziah, wearing a plain dress, and looking 
very solemn.) 

Julia. — Good afternoon, Auntie, here's a chair. Are 
you well? 

Aunt K. — As well as I ought to be. I never com- 
plain. Where's your mother ? 

Julia. — She's gone out to spend the day. Can I do 
anything for you ? Will you have a glass of water ? 

Osear.- — Or a piece of pie, Aunt Keziah ? Julia, 
bring in the pie — and a hatchet. 

Aunt K. — No, Oscar, I never indulge in pie. 

Oscar. — Don't like it, eh ? Why, Auntie, I've always 
heard that you w r ere very pious. 

Aunt K. — And I trust I am ; I trust I am. And 
that's the reason I deny myself such expensive luxuries. 
The money they cost would be better spent on the 
poor. 

Oscar. — But, Auntie, you would really be doing a 
very pious act in helping us to get rid of the " expensive 
luxury " that Julia baked this morning. 

Julia. — Now, Oscar, be still, or I shall complain to 
mamma when she comes home. You are very unkind. 

Aunt K. — Your brother means nothing but kindness 
to me, I'm sure, and you should keep your temper 
under better control. You need piety, Julia, piety. 



24 YOUNG folks' entertainments. 

Oscar. — Didn't I tell you so, sis ? 

Aunt K. — And Lulu, I was astonished to see you 
smiling in church last Sunday ; — it was entirely out of 
place — entirely out of place. 

Lulu. — Why, Auntie, I can't help laughing and being 
happy, and mamma doesn't think it's wrong. 

Julia. — No, Aunt Keziah, mamma likes to see her 
children cheerful and happy; but I hope you don't 
think we have been rude to you ? 

Aunt K. — Not a bit more rude than I should expect 
from children raised as you have been. I can do you 
no good, so I will take my departure. 

</., 0. and Lulu. — Good-bye, Auntie. (No response.) 

Julia. — Poor woman ! she thinks she's pious ; and 
mamma says she is really very good, but she has mis- 
taken ideas. 

Osear. — I should say so ; and look here, Julia, are 
you pious enough to forgive me for teasing you about 
your morning's baking ? 

Julia. — Oh, that's all right. It was an awful dose, I 
know, and I deserve to have the conceit taken out of 
me. Let's go now and play a game of croquet. 
[Curtain falls.] 



YOUNG folks' entertainments. 25 



CHARADES IN PANTOMIME. 



In presenting Charades, there should be a preparatory announcement 
made by the " Master of Ceremonies," in which he shall state the number 
of syllables the word contains, and whether the first scene represents the 
whole word with the syllables represented afterward, or vice versa. At 
the close of the acting of the charade, he should invite the audience to 
name the word if they have guessed it. There have been prepared a few 
of these announcements in rhyme, which will suit any one of the panto- 
mimic charades given in this book. Any one who does not wish to use 
these rhymes can make his announcement in a prose statement. 

Announcement. No. 1. 

A charade in pantomime, 
Will now employ our time. 

A word of syllables two, 
We'll offer to your view. 

And first each part appears, 
To your eyes— not to your ears. 

Then the two parts combined 
Complete the word in mind. 

[At the close.] 
Will you pronounce the word 

Which we with signs have shown? 
I'm sure you must have guessed, 

So please now make it known. 

Announcement No. 2. 

Two syllables form the word, 
Which is to you referred. 

Scenes 1 and 2 must show 
These syllables two, you know. 
And then shall come scene 3, 
In which the whole you'll see. 

[At the close.] 
What word is in your thought 
From our dumb motions caught? 
Though not a sound you've heard, 
I think you've guessed our word. 



26 YOUNG folks' entertainments. 

PHANTOM. 



Act One. — Fan. 

Two girls occupy a room furnished as a sitting-room. 
One reclines on a lounge, as though not well. She 
motions to the other to bring her something from the 
table. The second girl brings, first a book, then a glass 
of water. The sick girl shakes her head impatiently, 
and makes the motion of fanning. The other then 
brings a fan, and fans her till the curtain falls. 

Act Two. — Tom. 

Same scene. A knock is heard, and the well girl 
goes to the door and returns with a closed basket, which 
she proceeds to open. The sick girl raises herself to 
watch the operation. In the basket is found a large cat, 
with a card on his neck, having the letters TOM 
plainly printed thereon. On taking the cat from the 
basket, the card must be turned that the audience may 
plainly see the name. Both girls look delighted, and 
caress the cat till the curtain falls. 

Act Three. — Phantom. 

Same scene. The two girls are apparently enjoying 
a pleasant chat, when a tall figure dressed in a sheet, or 
other ghost-like apparel, appears, and beckons with out- 
stretched hand to the frightened girls. They shrink 
back, and still the spectre beckons till the curtain falls. 



YOUNG folks' entertainments. 27 



BANDAGE. 



Act One. — Band. 

Several boys having different musical instruments, as 
a cornet, a flute, a violin, a mouth-organ, a drum, etc., 
march upon the stage and take places in a double or 
triple row, as a band does. Placing their instruments 
in position as for a musical performance, they go through 
the motions of playing, then march off again. 

Act Two. — Age. 

A man and woman, in apparently extreme old age, 
bent nearly double, carrying canes upon which they 
lean heavily with every appearance of decrepitude, 
hobble slowly across the stage and disappear. 

Act Three. — Bandage. 

A youth with a large gash upon his arm (made w T ith 
red paint) is showing the wound to a young lady, who, 
shuddering, hastily procures a large handkerchief, or 
piece of linen, and carefully, but dexterously, proceeds 
to bandage the wounded arm, after which they walk off 
the stage, the youth leaning on the lady's arm as though 
very weak. 



PARENT. 



Scene One. — Pay. 

A gentleman is seated at a desk on which are papers 
and a bag of money. Enter employes one at a time, to 



28 YOUNG folks' entertainments. 

each of whom he pays a sum of money, they passing out 
as they receive it. 

Scene Two. — Rent 

A notice of " Houses for Sale or Rent " is posted up , 
and a man is standing looking at it, as though carefully 
reading it. His coat has a large rent in the back, to 
which a small boy is pointing and laughing. 

Scene Three. — Parent 

A man in dressing-gown and slippers is sitting in a 
rocking-chair, with an infant or small child upon his 
knee, which he dandles and caresses. 



WAYLAID. 



Act First. — Weigh (Way). 

Scene — A kitchen. A gentleman sitting by a table 
with a newspaper in his hand. Enter lady, bearing a 
pan of berries or other fruit, which she places on the 
table, and proceeds to weigh the fruit in scales, the 
gentleman assisting by emptying the contents of the 
scales as they are filled (or apparently filled) into a 
small preserving kettle that stands near. The lady 
finally places the kettle on the stove, and both go out. 

Act Second. — Lade (laid). 

Scene. — The same room. Gentleman lounging in the 
chair. Enter lady bearing a waiter of glass jars, which 
she sets on the table. She then picks up a ladle, 



YOUNG folks' entertainments. 29 

motions to the gentleman, who comes forward and holds 
the jars, while she proceeds to dip out the fruit and fill 
them. [Exit.] 

Act Third.-— Waylaid. 

Scene. — A street. Gentleman walking thoughtfully 
and slowly along. Suddenly a rough-looking fellow 
confronts him, seizes him by the throat, and by his 
gestures demands his pocket-book and watch. After a 
short struggle the valuables are surrendered, the robber 
disappears, the gentleman walking off in the opposite 
direction. 



RAINBOW. 



Scene One.— Rain. 

Six or eight or more persons walk across the stage by 
ones or twos dressed in rainy-day attire, some wearing 
gossamer water-proofs, and all carrying raised umbrellas. 
Some step carefully, as though avoiding puddles. 

Scene Two. — Bow. 

A young man enters with violin. Placing it in posi- 
tion for playing, he finds that the bow is missing. He 
looks here and there for it. While looking he picks up 
a piece of ribbon, which he ties tastefully in a bow on 
the end of his violin. At length he finds the lost bow, 
and with a pleased look he proceeds to rosin it, and 
flourish it about in the air. 

Scene Third. — Rainbow. 

A movable blackboard, on which has been drawn in 
colored crayons a representation of a rainbow, greets the 



30 YOUNG folks' entertainments. 

eyes of the audience for scene three. If the performer 
can draw skillfully and rapidly enough, it adds to the 
interest to have the drawing performed before the au- 
dience. 



SHADOWS. 



INTRODUCTION. 

An acceptable variety in an evening's entertainment is made by intro- 
ducing shadow pictures or pantomimes. 

A white screen is provided as for a magic-lantern show. This should 
extend from floor to ceiling, as the larger it is the more the size of the 
figures can be exaggerated, and the more grotesque they will thus appear. 
The scenes are meant to be absurd and amusing, not pretty nor pictur- 
esque. 

A brilliant light is placed on the floor at some distance behind the 
screen, and the acting figures must be between the light and the screen. 

The lights in the audience-room must be lowered so that the room shall 
be quite dark. 

Scenes. 

1. An orator, gesticulating freely. 

2. Grandfather and grandmother holding a consulta- 
tion. (Let each be seated in a rocking-chair. They 
rock and bend toward each other, as though talking 
earnestly.) ' 

3. Wash-day. (A tub on a chair, with a woman 
bending over it and rubbing as on a washing-board.) 

4. Surgical operation. (A patient with a pasteboard 
arm fastened to his shoulder, his own arm being held 
close to his side. The imitation arm makes as good a 
shadow as a real arm. A surgeon saws off the paste- 
board arm, dropping saw-dust as he saws, which looks 
like running blood. He flourishes the cut-off arm 
about in a heartless manner after the operation.) 



YOUNG FOLKS' ENTERTAINMENTS. 31 

5. Fishing. (An angler with a rod and line, which 
should be rather short, drawing a fish from the water.) 

6. Inflicting the Penalty. (A schoolmaster with rod, 
chastising an unruly urchin, whom he holds with firm 
grasp,) 

7. " Fashioned so slenderly, 

Young and so fair." 
(A very stout figure shadowed on the screen will seem 
very absurd if announced as above.) 



MOTION SONGS. 



OLD TIME PLAYS. 

Tune—" O, Come, Come away !" 



[Enter eight or ten girls, marching to the music of " 0, 
Come, Come Away" who form in a double line and sing :] 
O, come let us sing, 
Our merry games describing. 
When school is done, 
We'll have such fuii, 
O, come let us sing ; 
(1) Now first we form a ring so round, 

And while we stoop thus on the ground (2) 
I'll drop this handkerchief 
And hope it will be found. (3) 

O, yes we will sing, 
The praise of recreation, 
For healthful plays 
Make happy days, 
O, yes, we will sing. 



32 YOUNG folks' entertainments. 

(4) Together thus we leaders stand, 
And while united hand to hand 
(5) 'Neath gates so high upheld, 
Will pass King George's band. 

We so love to sing ! 

It rouses animation, \, 

And joy imparts V 

To youthful hearts, 

We so love to sing. 

(6) Now next we run to corners thus, 

(7) And I will take the part of "Puss," 

And seek most earnestly 
A corner for my use. (8) 

Once more let us sing, 
And thus prolong our pleasure, 
We form a line (9) 
And hands combine, 
(10) And I here shall bring, 
A button in one's hands to place, 
Which treasure 'tis your part to trace. 
(11) We'll all try heartily 
To be first in the race. 

Our games we have sung 
To challenge commendation, 
Yet let us say, 
School's not all play, 
There's hard work to be done. 
And now we'll form in marching line, (12) 
And as I prompt you by this sign, (13) 
(14) We'll all bow formally, 

And places here resign. (15) 



YOUNG folks' entertainments. 33 

[Notes.] 

1. All but one join hands to form a ring, singing. 

2. Letting go hands, they stoop, and the girl left out 
sings as she passes round the ring and drops a handker- 
chief behind some one. 

3. While the accompanist plays each interlude, the 
girls all resume their original positions in lines. 

4. Two girls join hands and raise them in an arch for 
the others to pass under, and sing. 

5. The others sing while passing under the raised 
hands. 

6. All but one take positions as foi playing " Puss 
wants a corner," singing. 

7. The one left out sings. 

8. While she is singing two (or more) may change 
corners swiftly and quietly, as in the game. 

9. All except one placing themselves in line, each 
places the palms of her hands together as in " Slip the 
Button." 

10. The one left out shsfll pass quickly along the line 
slipping her folded palms between the folded palms of 
each, singing. 

11. All the others. 

12. They form by twos, and one sings. 

13. Gives signal by raising hands. 

14. All bow. 

15. They march out to continuation of music. 



34 YOUNG folks' entertainments. 

THE SNOW BRIGADE. 

Tune—" Yankee Doodle." 



EXPLANATION. 

Snow-paper, commonly used for Christmas trees, may be scattered 
around to represent snow, and balls made of cotton be placed in it for 
the boys to use in the snow-balling. Also bits of the white paper may 
be stuck with a little mucilage on their hats to represent snow-flakes. 

[Enter six or eight (or more) boys bearing shovels on their 
shoulders. Wooden shovels may be used, as they are 
lighter.] 

We are a jolly set of boys, 

And we like fun and laughter ; 
But shoveling snow we like as well, 

And that is what we're after. 
Yes, we're jolly, ha, ha, ha ! 

No one here need doubt it ; 
That you may see how we do work, 

At once we'll set about it. 

We place our shovels in the snow, 
(suiting the action to the words') 

And then with rapid motion 
We fling the snow this way or that, 
Just as we have a notion. 
(Cease the motions, and rest both hands on the shovef, 
holding the shovels directly in front of them.) 
O, 'tis jolly, ha, ha, ha ! 

To see the soft snow flying — 
And boys who've never shoveled snow 
Will find it worth the trying. 



YOUNG folks' entertainments. 35 

{Resume the motion of shoveling.') 

See ! The path is growing wide, 
But now our arms are aching 
(lay down the shovels and cross one arm over the other, 
holding them thus while they sing the next two lines), 
And while we rest them, where's the harm 
In boyish frolic taking ? 
(Stooping down as though picking up snow, making snouh- 
balls, and throwing them,) 

We throw the snow-balls, ha, ha, ha ! 
Fast they fly and faster ; 
» . Look out for broken window-panes, 
Or other sad disaster. 
(Resume the shoveling,) 

Now to our work we turn again ; 

With laugh and cheer we're greeted ; 
Again we lay our shovels down (laying them down). 

Our work is quite completed. 
That is jolly, ha, ha, ha ! 
And tho' our ears do tingle 
(rubbing their ears, or holding their hands over them), 
What care we for winter's cold, 
When work with play we mingle. 
(Picking up shovels and placing them on their shoulders.) 
And now before we march away, 

We ask you, friend and neighbor, 
To save your shoveling for the boys 

Who're not afraid of labor. 
We call ourselves the " Snow Brigade," 

And we have room for others ; 
The little boys may fall in line, 
But not their great big brothers. 
(March out in line.) * 



36 YOUNG folks' entertainments. 

THE RAINY DAY. 

Tune— "I Want to be an Angel." 



To be sung by three or four little girls, carrying raised umbrellas, and 
wearing gossamers and rubbers. If preferred, this may be given as a 
recitation by changing the word ''sing" in the first line to "speak." 

We want to sing a little 

About a rainy day ; 
You know when rain is pouring 

We can't go out to play. 
But we can go to school, of course, 

Dressed in this wet-day rig — 
Gum gossamers, thick rubbers, 

And these umbrellas big. 

We dare to laugh at people 

Who seem afraid of rain ; 
Who, if out doors they venture 

Are sure to have a pain. 
{Placing left hands on chests, and wearing a distressed 
expression oj countenanced) 

We've watched these silly people, 

And what we say is fact, 
And now we're going to tell you 

How we have seen them act. 
I s'pose they'd frown upon us, 

And shake their heads, this way 
{giving a couple of decided negative shakes of the head), 
If they had any idea 

Of what we're going to say. 



YOUNG folks' entertainments. 37 

They mince along so slowly, 
With skirts uplifted, so 
(lifting the gossamer slightly, in front or at side), 
And having on no rubbers, 
Walk this way, on tiptoe. 
(Taking a few steps very carefully on tiptoe.) 

Of dogs they have such terror 

That if one comes in view 
They shake their big umbrella 
(making a quick, forward motion with the umbrella!) 

And scream out — " Shoo — sho-o-o — shoo-o." 
(Prolonging the last two words, and giving them in the 
ordinary tone, rather than in singing.) 
Now T , don't you think it's silly 

For big folks to act so ? 
I wonder why they do it ! 

We wouldn't (indicating themselves with 
their fingers) ; Oh no ! no ! (ordinary tone and shaking 
the head slowly and decidedly.) 

Umbrellas now we'll lower (lowering them) 
For see the sun is out 
(pointing toward the sun) ; 

So w r e will throw our kisses 
(kissing the tips of their fingers) 

And turn us round about. 
(Turning and forming a line *or marching out, singing as 
they go.) 

We will not cease our singing 

Until we've passed from sight, 
For singing, to us children, 
Is ever a delight. 



38 YOUNG folks' entertainments. 

GOOD ADVICE.' 

Tune— "Auld Lang Syne." 

The first four lines of each verse are to be sung by a large girl dressed 
as an elderly lady. She should make some appropriate gestures during 
her singing. The last four lines of each verse are to be sung by a number 
of smaller girls, grouped at each side and a little to the front of the old 
lady. During the first two lines of each verse they shall address each 
other, emphasizing with their forefingers and with nods of the head. 
During the last two, they shall approach the old lady and bow low to 
her. 

Old Lady. — Come, hearken, lassies, to my voice, 
For I've a word to say ; 
Some good advice to you I'll give 
To live by every day. 

Children. — She says she'll give advice to us, 
Advice to us she'll give ; 
We'll listen, ma'am, to the advice 
By which we are to live. 

Old Lady. — Be always kind and courteous 
To every one you meet ; 
And most of all the poor and old, 
You should with kindness greet. 

Children. — She says we should be kind and good, 
Both kind and good should be ; 
We hope, indeed, ma'am, that we'll e'er 
Treat all with courtesy. 

Old Lady. — Don't scorn the little things of life, 
Expecting something grand ; 
Remember that the mountains large 
Are formed of grains of sand. 



YOUNG folks' entertainments. 31) 

Children. — She says, we little things must heed 
If we success would gain ; 
We're sure you're right, and you shall find 
Your warning is not vain. 

Old Lady. — Then you will lead the useful life, 
For which each one was meant ; 
And living thus you'll surely be 
Both happy and content. 

Children. — She's promised us a happy life 
If we good counsel heed ; 
Your kind words, ma'am, have pleased us 
much, 
We thank you, ma'am, indeed. 



DIALOGUES. 



PLAYING STORE. 



CHARACTERS. 

Five boys— Warren, Charlie, Tom, Sam, and Ned. 
Two girls— Ida and Mary. 

Warren. — We're going to play at keeping shop, 
And I'm to be the clerk. 
These are the goods we have to sell ; 
To sell them, is my work. 

You see I've dolls, and tops, and caps, 
And marbles, cakes, and candy, 

Tin cups, and knives, and oranges, 
And other things so handy. 



40 YOUNG folks' entertainments. 

Now that I'm ready to begin, 

I hope the customers will come — 

The boys and girls to buy the goods 
And carry them off home. 

I think I see one coming now — 

Yes, there is Charlie Locke. 

[Charlie enters,] 
What can I sell you, sir, to-day ? 

I've everything in stock. 

Charlie. — I'd like to see some marbles, please, 

How many for a dime ? 
Warren. — As you are my first customer 

I'll give you twelve this time. 

C— I'll take them. W— Shall I wrap them up ? 
C. — No. W. — Let me put them, then 

Into your pocket. C. — Here's your dime. 
Good-day. W. — Call in again. 

[ Ida enters.] 

Ida. — Please, Mr. Storekeeper, I want 
An orange and a mint-stick. 
I have a tea-party at home 
And want the things for tea — quick ! 

Please, charge the bill. I have no time 
To pay for them to-day. 
Warren. — All right, all right, here are your goods, 
To-morrow you can pay. 

[Mary enters and looks around.] 
Warren. — What can I show you, miss, to-day ? 
I have some dolls quite low. 
Mary. — Well you may show me some ; perhaps 
I'll buy — I do not know. 
[ W. places dolls before her, and she selects one.] 



YOUNG folks' entertainments. 41 

How much for this ? W. — A dollar, ma'am. 
Mary. — I think the price too high. 

I'll give you ninety-seven cents. 
Take that — or I'll not buy! 

Warren. — Well, take the doll at your own price 

[wraps and hands it to her], 
Tho' it really is worth more ; 
For here come lots of customers, 
Enough to buy the store. 

[Tom, Sam, and Ned enter. ] 

Tom. — I want a nice, new tin-cup ; 
If you have one for sale ; 
For Jack took mine last Tuesday, 
To tie to Hover's tail. 

Warren. — Well, you can take your choice, sir, 
Of cups I have no lack. 
And don't you want this riding-whip 
To lay on naughty Jack ? 

Tom. — I want to buy a good jack-knife, 
If you have one to suit — 
One that will sharpen pencils 
Or make a willow flute. 

Warren. — Here is the very article ; 

The sharpest knife in town. 
Ned. — I want a polo-cap, the kind 

That's pretty much all crown. 

Warren. — In that, I can just suit you, sir, 
This cap I know will do ; 
The price, too, is extremely low. 
Shall I wrap it up for you ? 



42 YOUNG folks' entertainments. 

Tom. — Here is the cash for my tin-cup. 
Sam. — This for my knife will pay. 
Ned. — And here's the price you ask for this, 
My polo-cap so gay. 

Warren. — That's quite correct ! Just tarry, beys, 
'Tis time to shut up shop. 
Let's go and have a game of ball, 
Or else of spinning top. 

Tom. — Yes, yes, come on, for after all, 
Boys best like out-door plays, 
So let's be off, and leave the store, 
For girls, or — rainy days. 



TOM'S PRACTICAL JOKE. 



/-Aunt Emma, 
Characters,^ Tom, 
'-Mary. 

Scene— A Sitting-room. 

{Aunt Emma seated with book or sewing ; Tom engaged 
in tying a broken whip or in some similar employment) 

Aunt Emma. — And so your sister will be here to-day, 
Tom. 

Tom. — Yes, ma'am, so she says in her letter to me, 
which I received yesterday. 

Aunt E. — I will be very glad to see her — very ^lad, 
indeed. It has been ten or twelve years since I have 
seen the dear child. She could just lisp my name when 
last I saw her. I wonder if I will know her. 

Tom. — Well, you know you did not recognize me, 
Aunt Emma, and I suppose she has changed as much. 



YOUNG folks' entertainments. 43 

Aunt i?.— Yes, yes. But we must try to make her 
visit pleasant. What shall we do to amuse her. What 
are her tastes ? 

Tom. — Well, you know, on account of her unfor- 
tunate infirmity — 

Aunt E. — Infirmity! What infirmity? I did not 
know anything was wrong with her. 

Tom. — Is it possible, I never told you she is deaf? 

Aunt E. — Deaf! No, indeed. What a pity ! 

Tom. — O, she can hear if you talk loud enough, and 
after she becomes accustomed to your voice you need 
not speak so loud as at first. 

Aunt E. — O, Tom, it is such an effort for me to talk 
very loudly. Why don't she use an ear trumpet ? 

Tom. — Mercy, Aunt, she is so sensitive on the subject 
that she will try to appear as if she were not deaf at all. 

Aunt E. — Dear ! dear ! how sad ! Will she hear me 
if I speak in this tone? (Very loud.) Did you have a 
pleasant journey, Mary ? 

Tom. — A little louder than that if you can — until she 
gets used to your voice, you know. 

Aunt E— Well, I'll try, but it will be torture. I 
will go to my room to rest now. Call me if Mary should 
arrive. 

Tom. — Yes, Auntie. (Aunt E. goes out.) So far, so 
good ! A capital joke, I think. I've written to Mary, 
giving her the idea that Aunt Emma is deaf, and telling 
her she will have to scream to make her hear, and now 
I've made Aunt Emma believe that Mary is deaf, and 
won't I have fun listening to them yell at each other ! 
I haven't told any actual falsehood about it, either. 
Just given them wrong impressions, that's all. Hallo ! 
There comes Mary now. (Mary enters, dressed as 



44 YOUNG folks' entertainments. 

though just from a journey. Tom steps forward and 
shakes hands with her.) Glad to see you, Mary. How 
do you do ? 

Mary. — I'm well, and you, Brother Tom, how are 
you? 

Tom. — I'm pretty well, considering the wear and tear 
of talking to Aunt Emma. 

Mary. — O, Tom, is she so very hard of hearing ? 

Tom. — You will have to talk very loud indeed, to her. 
But I'll call her. ( Goes to one side, and calls in a loud 
voice.) Aunt Emma, Aunt Emma, Mary has arrived. 
{To Mary) Now, Mary, get your voice in order. 

Aunt Emma {outside). — I'm coming, I'm coming to 
welcome my dear niece. {She enters, and approaches 
Mary and kisses her, while Tom backs off and hides behind 
some piece of furniture.) 

Aunt E. {very loud). — -My dear child, I'm glad to see 
you. Had you a pleasant journey {still louder) a pleas- 
ant journey ? 

Mary {aside). — What a loud voice Aunt has. {Very 
loud.) Yes, I enjoyed it very much, {stitt louder) very 
much indeed. 

Aunt E. — Let me take your hat and coat. Are you 
tired, my dear? {Louder.) I said do you feel tired? 
( Takes Mary's hat and coat.) 

Mary. — No, not at all. {Louder,) Not at all. 

Aunt E. — And you had no difficulty in finding your 
way here alone? 

Mary. — Oh, no, why should I. {Louder,) No, of 
course not. 

Auntie. — I thought you might not be able to hear the 
train-men call the station, you know. 

Mary {aside). — Does she think every one else is deaf 



YOUNG folks' entertainments. 45 

because she is? (Very loud,) Why, I could hear them 
perfectly well. 

Aunt E. — And do I speak loud enough for you? 
(Louder,) Can you hear me quite well ? 

Mary. — Of course I can. And is my tone loud 
enough for you to hear ? 

Aunt E. — Certainly. There is no trouble with my 
hearing. 

Mary (in her natural tone). — There isn't? Neither is 
there with mine. 

Aunt E. — Tom told me you were deaf. 

Mary. — And Tom wrote me you were deaf. It all 
reminds me of the old dialogue we used to read at 
school, called " Courtship under Difficulties." We have 
been re-enacting that with variations, I think. 

Aunt E. — Well, well ; I am glad that neither of us is 
deaf. But where is that mischievous boy? 

Mary. — He has taken- himself off in good time to 
avoid our reproaches. 

Tom (coming forward and stepping between them). — 
Here I am! Now scold away, both of you. (Then 
speaking very loudly, first in Aunt Emma's ear, then in 
Mary's,) Can you hear me ? Can you hear me ? 
[Exit all.~\ 



AUNT KITTY'S SHOPPING. 



CHARACTERS. 

Aunt "Kitty— A proverbial philosopher. 
Three Nieces— Laura, Abbie, Florence 

Scene— A Sitting-room. 

Laura (looking out of door or window*). — Look, girls, 
here comes Aunt Kitty home from her day's shopping, 



46 YOUNG folks' entertainments. 

with her arms just full of packages. There, she has 
dropped one! Come, look at her, quick! She will 
drop them all before she gets here. 

Abbie (looking).— Poor, dear Auntie ! Why will she 
not have her goods sent home ? I suppose she thinks it 
safer to carry them herself. There is a boy helping her 
pick up the fallen bundles. I wonder how much trash 
she has collected to-day ! 

Florence. — I'll venture to say that she has bought of 
every street peddler who urged her to buy, besides 
being cheated in the stores. I really wish she wouldn't 
come to the city to do her shopping — she is so innocent, 
so unsophisticated ! 

Abbie. — Notwithstanding her stock of wise sayings. 

Florence. — As to her proverbs, some of them are wise 
and some are decidedly otherwise. But here she is. 
Now for some fun. 

{Enter Aunt Kitty.'] 

Laura (setting a chair). — Ah, Aunt Kitty ; here you 
are, laden with spoils. Did you buy the stores out? 
Let me take your bonnet and shawl (taking them). 
Now, I hope you mean to show us your bargains. 

Abbie and Florence. — Yes, do, Aunt Kitty. 

Aunt K. — Well, well, wait till I get my breath a 
little, and I will show you bargains u good for sore 
eyes." " No time like the present," so we'll open the 
bundles at once. What do you think of this shawl? 
(Opens package and shows shawl.) I got it for two 
dollars, and the salesman said it was worth four. "A 
penny saved, is two earned," thought I, and I snapped 
it up. 

Laura (holding up the shawl to the light). — But why 
did you get a perforated shawl, Aunt Kitty? It is full 



YOUNG folks' entertainments. 47 

of moth holes, big enough for your saved penny to lose 
through, I fear. 

Aunt K. — La ! dear me ! is that so? I didn't see any- 
thing wrong with it when I bought it. I wonder if the 
man who sold it to me did. I guess he didn't, for he 
looked so honest. Well, " that cake's all dough," sure 
enough. But here is a bargain to balance that loss — 
some chintz for a dress {showing it). Isn't that pretty ? 
And so cheap — ten cents a yard, only. 

Abbie. — Oh, Aunt Kitty, I happen to know that 
chintz fades very, very much. 

Aunt K. — Fades ? No, no, I guess not ! I asked the 
shop-girl particularly if it would wash and she said she 
knew it would — the colors were fast. 

Florence. — But anything will wash, you know. You 
should have asked her w T hether it would fade. I sup- 
pose she meant by fast colors, that they would run fast 
enough when washed. She told the truth in w r ords, but 
a falsehood in fact, and she has cheated you. 

Aunt K. — Well, well, "A burnt child dreads the 
fire." I think I'll not trouble that shop again. 

Laura. — I am wondering what there is in that roll 
you have your hand on, Auntie. 

Aunt K. — O, that's a couple of pictures which I 
bought cheap — twenty-five cents each — half their value, 
I was assured — and as " a thing of beauty is a joy for- 
ever " — 

Abbie. — You concluded to lay in a permanent stock 
of joy at half-price. 

Aunt K. (unrolling two cheap chromos, highly 
colored). — There! what do you think of them? Are 
they not handsome ? 

Florence. — Tastes differ, Aunt Kitty, but if you like 



48 YOUNG folks' entertainments. 

them, we won't find fault. I've seen much smaller pic- 
tures that cost a great deal more money. 

Aunt K. — Ah ! I thought it would be strange if I 
had not got any real bargains. " It's a long lane that 
has no turning." And here is something else, I think 
you will like. Where do you suppose this box of spoons 
came from? {Opens box.) I stopped in an auction 
room, and thinking " Nothing ventured, nothing gained," 
I bid on these spoons, and got them for a dollar. Isn't 
that cheap for triple plate ? 

Laura. — I'm afraid you have been cheated again, Aunt 
Kitty. That plating will wear off in a month, I'm sure. 

Aunt K — I guess not — I guess not — I know " All 
is not gold that glitters," but I will hope these spoons 
are what they seem, until they are proved the contrary. 
They look like solid silver. 

Florence. — More like solid tin ! 

Aunt K — Maybe so, maybe so, but I am certain 
these gloves are good. The saleswoman said she wore 
the same kind herself, and what is good enough for her 
is good enough for me. 

Abbie (taking a glove, and examining it.) — Yes, these 
are really nice. Let me see the other one. (Takes it.) 
Oh ! Aunt Kitty, they are both for the right hand. 
Now, isn't that too, too bad ! 

Aunt K. — Now, now, is that so ? Well, I can wear 
them, one at a time, and so I'll certainly " Keep to the 
right " as the law directs, but I'd prefer a left-hand 
glove half the time as a change. " Variety is the spice 
of life," you know. 

Laura — I wonder if it will not be better for you to 
take me with you to-morrow, Aunt Kitty. You seem to 
have been rather unfortunate to-day. 



YOUNG folks' entertainments. 49 

Aunt K. — " A friend in need is a friend indeed." 
Yes, I think you had better go with me, for "Two 
heads are better than one." To-morrow will be my last 
day for shopping, as I must go home the next day. So 
w r e will " Make hay while the sun shines," and be off 
bright and early. " The early bird catches the worm," 
they say. Shall we take the rest of these things up- 
stairs, now. I begin to feel tired. 

Laura. — No wonder, Aunt Kitty, you have had a 
busy day of it. 

Abbieand Florence. — We'll help carry the packages, 
Auntie. {Picking them up.) 

*Aunt K. (while going off the stage). — That's right. 
Thank you, girls. " Many hands make light work," you 
know. 



HOW THE QUARKEL BEGAN. 



CHARACTERS. 

Two girls— Lucie and Nellie. 

Lucie. — I am so glad, Nellie, that we are good friends 
again. It is so much more pleasant than being cross 
and angry with each other. 

Nellie. — Yes, indeed, I have just been thinking that 
very thought myself. 

Lucie. — I feel so much happier when we are pleasant 
and agreeable. 

Nellie. — And I, too ; why cannot we always be amia- 
ble and kind to each other ? Suppose we enter into an 
agreement to that effect. 



50 YOUNG folks' entertainments. 

Lucie. — I'm sure I am willing. Nobody hates quar- 
reling more than I do. 

Nellie. — Except me. I would never quarrel with any- 
one, if I had to be the one to begin the quarrel. 

Lucie. — Why, Nellie, as to that, I think you are the 
one to begin quite as often as I am. At any rate, I 
never get angry at trifles. 

Nellie. — Does that remark mean that you think I do ? 

Ijucie. — Oh, I do not mean anything in particular, 
but you are so ready to take offense at the least re- 
mark. 

Nellie. — Not unless the remark is offensive. But 
when it is, I hope I have sense enough to discern it. • 

Lucie. — Now, Nellie, take care ! I can tell from the 
tone of your voice that you are displeased. 

Nellie. — Well, why not? I am sure you are rude 
enough to displease any one. 

Lucie. — Rude, am I ? That is a little too much to 
take from a girl who has no better manners than to in- 
sult me to my face in this way. I think if I were you 
I would try to keep my temper under better control. 

Nellie. — " People who live in glass houses shouldn't 
throw stones." The idea of your taking me to task is 
absurd, when you are as angry as possible yourself. 

Lucie. — You are an ill-tempered, disagreeable girl, 
and I do not want to have anything to do with you in 
the future. 

Nellie. — And I hope never to speak to you again as 
long as I live. You are too hateful for anything {goes 
out angrily). 

Ijucie. — Well, there! I didn't mean to quarrel with 
Nellie ever again, but somehow the quarrel came of it- 
self. I wonder which of us did begin it, anyhow ! 



YOUNG folks' entertainments. 51 



MASQUERADING. 



Scene— A plain room, with chest placed conspicuously. 

CHARACTERS. 

Two girls— Nell and Bertha. 

The garments used should be chosen with care, that they may be be- 
coming and look well on the girls. The caps should be close, and prettily 
frilled (like an infant's cap), and worn under broad-brimmed hats, tied 
down beneath the chin. They will make pretty, youthful faces look 
quite picturesque. The dress should be old style, but as pretty as pos- 
sible. ^ »« 

Bertha. — So, Nell, at last we ar°, alone, 

Aunt Lou and grandma both are gone ; 
Now, won't we have a good ransack 
Through this old chest ere they get back ? 
Nell.— Yes, Bertha, I do dearly love 

To rummage 'mongst the treasure trove 
Of ancient trunk, or box or chest. 
I'll help to ransack, with a zest. 

( Goes to chest, and stoops as if to open it.) 
Bertha. — Can you unlock it ? Here's the key (handing 

key). 
Nell (using key). — Oh, yes, it opens easily. 

See, Bertha, see, w r hat I have here ; 

A long-trained dress, but made so queer. 

(Shakes out dress and holds it up.) 
And here's another of like style (showing it), 
They must have lain here a long while. 
Bertha (who is also bending over chest). — What's this? — 
A hat !— Oh, what a fright ! 
Who wore this must have been a sight ! 

(Twirls it round on her hand.) 



52 YOUNG folks' entertainments. 

Nell. — Why, Bertie, look ! Here is another 
As like the first, as a twin brother. 
Bertha. — I've found a pair of shoulder wraps. 
Nell. — And here are two old-fashioned caps. 
Bertha. — I wonder if they're all in twos ; 

Yes, — here I've found two pair of shoes. 

(Shows old style slippers.} 
Nell, I have something to propose, 
Let's dress up in these ancient clothes. 
Nell. — Yes, yes, I think that will be fun. 

( Takes a dress and commences to put it on.) 
Come, help me gefthis long dress on. 
Bertha (assisting Nell). — There, that is right ! And 
now for mine. 

(Puts it on.) 
Hurrah ! Now w T e are ladies fine. 
Nell (who has donned cap and hat). — How does my hat 
look ? and my cap ? 
Oh, wait till I get on my wrap. 
Bertha (laughing). — Oh ! dear, oh ! dear, how queer you 
look! 
Like an old picture, in a book. 
I'll put on mine, and then you'll see 
Yourself reflected fair, in me. 

(Puts on hat, cap, and wrap while speaking.) 
Nell. — Oh, what a funny masquerade ! 

I feel just like some high-born maid 
Of by-gone days. I wonder who 
Wore these old clothes when they were new ? 
Bertha. — Why, grandma's grandma probably, 
Some fair dame of our ancestry. 
Come, Nell, let's sing an old-time song 
To help our masquerade along. 



YOUNG folks' entertainments. 53 

Nell. — Why, so we will. That's just the thing 
To cap our fun. Yes, let us sing, 
(Any old-time song, "Auld Lang Syne" for instance, will 
answer as an ending to this dialogue.} 



UNJUST SUSPICION. 



For six (or more; girls. 



CHARACTERS. 



Ruth, Anna, Ella, Abbie, Edith (school girls), and Nancy, a fruit 
peddler. 

Act First. 

Scene — A street 

(Enter Ruth with hat and coat on.) 

Ruth (looking around).- — This must be the place. Let 
me see again what the note says. ( Opens a letter and 
reads aloud) — " Hillside, May 5th, 18 — . Dear Anna : I 
will meet you at one o'clock to-day in the Park, near 
the L Street entrance. There we can conclude our 
plans without being overheard by Ruth. Be very cau- 
tious, for I think she suspects something already, and I 
would not have her know the secret now for anything. 
Pass this note around among the other girls of our class 
but do not let her see you do it. In haste, Abbie." 
H'm ! That looks as if they were all In the secret but 
me ; but I'll outwit them yet— thanks to the wind that 
brought this paper to my feet. They profess to be my 
friends — Abbie especially— but I know they don't care 
for me at all. They have rome plot against me, that is 
certain, and I am going to find out what it is. (Looks 



54 YOUNG folks' entertainments. 

around.) I wish there was a good hiding place here, 
but I don't see any. {She is startled by the voice of a 
little fruit girl who has approached her unseen. The fruit 
girl [Nancy] wears a large, shabby hood, and a long, 
tattered cloak [or shawl] and carries a basket of oranges on 
her arm.) 

Nancy. — Oranges, Miss? 

Ruth. — Oranges ? Let me see. {Picking up one after 
another and laying them down again.) Have you sold 
many to-day ? 

Nancy. — None at all, Miss. 

Ruth. — Would you like to make a good sale ? 

Nancy. — I wish I could. 

Ruth. — Now see here, I'll tell you what I'll do. I'll 
take these oranges, basket and all, and pay you double 
for them, if you will give me your hood and cloak for 
my hat and coat. What do you say ? 

Nancy {starting on). — You're like the rest of 'em. 
You're making fun of me. You don't want no oranges. 

Ruth — Come back, I'm in earnest, and to prove it, 
here's the money. (Shows it.) 

Nancy. — But my cloak is torn and dirty, and my 
hood is old and shabby. 

Ruth. — So much the better. Mine are perfectly good, 
and you'll be the gainer. Come, make haste, will you 
doit? 

Nancy. — In course I will, if you think I won't get 
into no trouble ? 

Ruth. — No trouble shall come near you. Set your 
basket down and give me your cloak and hood. Here 
are mine. ( They exchange, Nancy putting on the good 
garments with evident pride, but Ruth holding Nancy s on 
her arm.) Now you can go. 



YOUNG FOLKS ENTERTAINMENTS. 55 

(Nancy starts off, but glances occasionally behind her as 

though expecting to be called back.) 

Ruth. — Now I must hurry. Time's nearly up. I'll 

go into the Park and disguise myself, and in this way 

will hear all that my " dear friends " have to say about 

me. (Picks up the basket and goes out.) 

[Curtain falls.] 

Act Second. 

(Scene. — A small park. Two or three benches scattered 
around. Ruth, disguised as a fruit vender, is half 
reclining upon a bench, her arm upon the back of the 
bench, her head with her face half concealed resting 
upon it, to all appearance asleep. A basket of oranges 
on the floor at her side.) 

(Enter a group of girls, some carrying books, Edith with 
a fancy lunch or fruit basket in her hand.) 

Abbie. — See, girls ! we have it all to ourselves. 

Ella. — With the exception of that little peddler over 
there. 

Abbie. — Oh, yes ! I didn't see her at first, but she'll 
be none the wiser for what we say, and maybe she won't 
stay long anyhow. 

Anna. — She seems to be asleep. 

Abbie. — Poor girl ! I suppose she's tired out. 

Ella. — I'll go take a peep. If she's asleep we won't 
disturb her. (Steps softly over and looks at her.) She's 
sound, girls, so now to business. 

Abbie. — I believe everything is arranged except the 
time and place of meeting. 

A nna. — You think Ruth knows nothing about it ? 

Abbie. — I'm sure from her manner to-day she suspects 



56 YOUNG folks' entertainments. 

something, but I am positive she doesn't know what we 
are going to do. 

Edith. — She hasn't seemed very happy lately. 

Abbie. — Happy! how can she feel happy with her 
invalid mother so far away from her, and she living with 
that stern old aunt of hers. 

Anna. — I don't see, Abbie, how you ever got her 
Aunt's consent to let us bring a surprise party into that 
great, grand house of hers. 

Abbie — Oh, I hadn't much trouble in winning her to 
our side. 

Ella. — You should have heard Abbie plead Ruth's 
cause, as I did, girls. She plead like a lawyer. 

Abbie. — I only told her how lonely Ruth seemed and 
that I had learned by accident that May 5th — that's 
to-day — was Ruth's birthday, and that when she was in 
her own home in Washington, her mother, whom she 
fairly idolizes, always remembered it in some pleasant 
way. 

Ella. — Then she told her of our plan of surprising 
Ruth this evening. 

(Here Ruth raises her head and glances cautiously 
around.) 

Abbie. — And — well, to make a long story short, she 
gave her consent, so I propose that you meet at our 
house to-night at eight o'clock, and that we go in a body 
and present our offerings and congratulations to Ruth. 

Edith. — And I have an idea, girls, will you listen to 
it? 

Anna. — Of course we will ; that is what we're here 
for — to air ideas and make suggestions. 

Edith. — Well then, in order more completely to throw 
Ruth off her guard, and to do a little deed of charity at 



YOUNG folks' entertainments. 57 

the same time, suppose we waken that young fruit girl, 
buy her fruit of her, put it into this basket with our 
cards, and send it to Ruth with " Birthday Greetings." 

Abbie. — Good ! and then she will think that's what 
we've had our heads together about, and it will never 
enter her mind that we have another surprise in store 
for her. 

Ella. — I think that's a capital plan. 

(Ruth here rises quickly but softly, picks up her basket, and 
attempts to slip away unseen.) 

Abbie (turning toward the bench). — Oh, she is going ! 
Come back, young girl, we want some oranges. 
(Ruth pays no heed to her calls.) 

Edith. — I guess she's not wide awake yet, or else she's 
deaf. 

Abbie (overtaking her, catches her by the arm and says). 
— Let me see your oranges (picking one up and not look- 
ing at Ruth). Oh, these are very nice. Here, Edith, 
hold your basket while I fill it. Ella, you address a 
card. Now (to the orange girh, will you take this 
basket for us to Miss Ruth Bradley, No. 126 Grand 
Street ? We will pay you well. (Ruth makes no answer, 
but stands with face averted.) Come, speak ; will you do 
it? 

Ruth. — No ! She doesn't deserve it. You do not 
know Ruth Bradley ; she's the meanest girl that goes to 
the Hillside school. (Throws off her disguise.) 

AIL— Ruth ! 

Abbie. — Explain your conduct, Ruth, what does it 
mean ? 

Ruth. — Just this. That I am well punished for the 
deceit I have practiced. 



£8 YOUNG folks' entertainments. 

Edith. — What need had you for such a disguise, 
Kuth? 

Ruth. — I found at recess to-day the note that Abbie 
wrote you. I suppose it blew out of the window, and 
from it I learned that you had a secret, and as I was 
not in it, my jealous, distrustful nature led me to think 
that you were unfriendly and unkind, and — well, I took 
this mean, contemptible method to find out your secret. 
You have made me see myself in a new light and I am 
ashamed and sorry. Hate me, despise me as you will, 
you cannot despise me one-half so much as I do my- 
self. 

Abbie (going up to her and laying her hand on her 
shoulder). — No, Ruth, we none of us despise you, I am 
sure, and you had some ground for suspicion we'll 
admit ; and though the little treat we have in store for 
you will not now be a surprise, we hope it will be a 
real pleasure, and that you will allow us to come to- 
night, and bind more closely the link of friendship so 
nearly broken. 

Edith. — Do not reproach yourself any more, Ruth. 
Give us each an orange as a peace-offering, and we'll 
never speak of this occurrence again. {Edith passes the 
basket around and each takes an orange.) 

Ruth. — You're too good, girls. I wonder how many 
friendships (so-called) would stand such a test as I have 
put yours to to-day. You have taught me a lesson of 
trust. I'll never forget it. 

Abbie. — 'Tis time for school. Let us hurry or we 
will be late. (Puts her arm around Ruth, and they walk 
°ff> the others following.) 

[Curtain falls.] 



YOUNG folks' entertainments. 59 

AN ILLUSTKATED STORY. 



CHARACTERS. 

Two boys— George and James. 

In this dialogue James is to illustrate what he speaks by appropriate 
drawings, either on a slate or blackboard. When completed, the draw- 
ings form the rude outlines or a pig. James draws while George is 
speaking, and then turns the slate or steps aside from the blackboard, 
that the audience may see his work, while he himself is speaking. Use 
chalk-crayon, even if a slate be used, that the drawing may be quite 
distinct. A very faint outline, imperceptible to the audience, might be 
prepared beforehand. 

George. — I know a nice new play, James. 

James. — Do you ? What is it ? 

George. — We must have a blackboard. 

James. — Here is one. Now what do we do ? 

George. — I tell a story, and you draw the pictures 
about it. 

James. — That isn't play. . That's work. 

George. — O, you will like it. It is fun. Will you 
try it ? 

James. — Yes, I'll try, but I do not believe I can draw 
much. 

George. — Are you ready ? Shall I begin the story ? 

James. — Yes, go on. 

George. — Once on a time there was a poor man, who 
owned a little odd-shaped, three-cornered piece of land. 
{James draws a three-cornered figure to represent the head 
of a pig.) 

James. — This is the farm as it appears 

Where this man lived for many years. 

George. — He built himself a little house on his bit of 
land, in which he lived in peace and comfort. 



60 YOUNG folks' entertainments. 

(James draws a small circle in the head, for the pig's eye.) 

James. — This is the house the poor man made, 
And here year after year he stayed. 

George. — He had a barnyard near the house, in which 
he kept his pigs and chickens. The poor man took 
much pleasure in caring for his dumb creatures, to 
which he became very much attached. 
(James draws the ear of the pig in the upper right-hand 
corner to represent the barnyard.) 

James. — This is the yard of the poor man, 

And here his pigs and chickens ran. 

George. — One morning, when the man ariose, he dis- 
covered that one of his pigs had strayed away, so he 
started out to find it. He left no path nor lane unex- 
plored in his search for his lost pet. 
(From the lower part of the head, draw a continuous line 
forming the four legs and lower part of body, extending 

to the tail.) 

James. — This is the road the poor man took, 
As for his pig he went to look, 
And these the lanes that he did search 
When piggy left him in the lurch. 

George. — At length he came to a very winding road, 
and he thought he would surely find the pig in there, 
so in he went, and after winding in and out and round 
about he got back to the very point from which he had 
started in, without having found his pig. 
(James draivs the pig's tail with a kink in it, curving it, and 

drawing back from the end, without lifting the crayon.) 



YOUNG folks' entertainments. 61 

James. — This is the very winding way 

The poor man trod that weary day. 

George. — The man was now so much discouraged that 
he determined to give up the search and go home at onee, 
so he took the nearest road to his home, and — 

{James draws the back of the pig from tail to head.) 

James. — When this road he had traveled o'er, 
He -found the pig at his own door, 
And this is that pig's photograph. 
Now look, but do not dare to laugh. 
(Shows pig completely drawn.) 



VISITORS FROM STORY LAND. 



For six children— One large boy or girl, who acts as manager ; four smaller 
girls and one smaller boy. 

Manager. — Whom do you suppose I have here this 
evening to meet you ? Good friends of yours they are, 
and many a happy hour you have spent in their com- 
pany, and yet I think you have never seen them look 
just as they will look to-night. I have brought them 
together with much labor and expense, but if you enjoy 
seeing them, as I think you wifl, I shall feel fully repaid 
and satisfied. Everywhere throughout the land they 
are the friends of the children, and not only of the 
children of to-day, but when your parents and your 
grandparents were young they too enjoyed the company 
of these little people ; for, strange to say, they never 
grow old. Many years have they lived, and many more 
shall they live, but ever with the grace of youth at- 



62 YOUNG folks' entertainments. 

tending them. But I do not mean to mystify you, so let 
me introduce to your notice Little Red Riding-Hood. 

{Little Red Riding-Hood appears dressed in a scarlet hood 
and cloak, carrying a small basket) 

Good evening, friends, 
I'm glad to be here, 
And I'll say just a word 

To these children dear. 
If e'er you should meet 
A wolf as you walk, 
I pray you, beware ! 

Do not list to his talk. 
He means to devour you. 

Am I understood ? 
I know what I say, 

I'm " Red Riding-Hood." 
Manager. — The next little visitor I have to introduce 
to you is Little Silverhair. 

{Silverhair should be a little girl, with long, fair hair, 
which should be loose upon her shoulders?) 

I hope, little friends, 

You'll recognize me ; 
Tho' I did not do right, 

I'm sorry, you see. 
I meddled* you know, 

With pudding and chairs, 
And tumbled the bed 

Of each of the " Bears." 
I know it was wrong, 

But I'm willing to own, 
Poor Silverhair's sorry, 

She'll try to atone. 



YOUNG folks' entertainments. 63 

Manager, — Poor, little Silverhair ! She did not be- 
have so very badly, did she, children ? Next I have the 
pleasure of presenting Jack, the Giant-Killer. 

(Jack carries a heavy club [a base-ball bat will answer the 
purpose], which he swings occasionally while speaking. 
He may also wear a toy sword.) 

The giants I've slain 

If you could but see, 
Of course, you at once 

Would recognize me. 
Now, will you believe, 

You have giants to kill 
More real than mine ? 

One's name is Self-will, 
Another is Sloth ; 

Bad Temper's a third, 
And there are others 

Of whom I have heard. 
That you may succeed 

In crushing these foes 
Is " Jack's " earnest wish, 

As from you he goes. 

Manager. — Jack's wish is a good one, children, and I 
think we all hope it will be fulfilled, do we not? Now 
we are ready to greet Cinderella. 

( Cinderella wears a plain outer-garment [a gossamer water- 
proof will do~\ entirely concealing her under dress, which 
may be as gay and beautiful as possible. At the appro- 
priate time she throws aside or drops the outside gar- 
ment.) 



64 YOUNG folks' entertainments. 

In my cindery dress 

I make you my bow, 
For ne'er was I vain, 

Nor vain am I now. 
My proud sisters two 

Would glad be to see 
My return to this dress 

Which shows poverty. 
But my kind god-dame's wand 

Is hovering near {drops cloak). 
And in my fair garments 

I now will appear. 
Manager. — The last little visitor that I shall present 
this evening is Little Bo-Peep. 

{Bo-Peep wears a broad-brimmed straw hat ana carries a 
shepherdess' crook. An ordinary crook-handled cane 
fitted into a piece of a fishing-rod will make a long 
enough crook.) 

I'm glad to rest awhile 

From seeking my lost sheep, 
And you shall hear a word 

From wandering Bo-Peep. 
How often we pursue 

Some fleeting, shadowy good, 
And fail to take the wealth 

We might have if we would. 
We dream of purpose gained, 

As I, I'd found my sheep, 
But waking, find a blank, 

So on our search we keep. 
But I did not mean 

To moralize to you, 
Yet if you'll think upon 

My words, you'll find them true. 



YOUNG folks' entertainments. 65 

POOR WORK DON'T PAY. 



For two boys and two girls. 

Scene — A sitting-room. Lynn, writing ; Marion, sewing. 

Marion. — How fast you write, Lynn. 

Lynn. — Yes, I'm in a hurry to get this done. I want 
to play a game of ball with the boys before supper. 

M. — Is it a parsing exercise ? 

L. — O, no, it's a letter to mother (picking it up and 
glancing carelessly over it). It doesn't look very nice, 
and I suppose it's full of mistakes — but she won't care, 
so long as she hears from me. 

M. — I'm not so sure of that. I think she will care. 
She doesn't like to see any of her children forming 
careless habits. By the way, did you finish your draw- 
ing exercise ? It was to go in to-day, wasn't it ? 

L.— Yes, I finished it ; but if I could have had more 
time, it would have looked better. I had to finish it 
in such a hurry. 

M. — More time? Why, you had three weeks. I 
should think that was long enough to do it well. 

L. — But I didn't get at it until yesterday ; and then 
father wanted me to mend the pig-pen ; — but that 
didn't take much time, it only required a nail or two. 

M. — Are you sure ? I heard father say several days 
ago, that you had better fix it at once, for if it were 
neglected much longer, the pig would be sure to get 
out, and perhaps do a great deal of damage to the 
garden. 

L. — He only said that to hurry me a little. Master 
Piggy is a prisoner. Let him get out if he can. I tell 



66 YOUNG folks' entertainments. 

you, Marion, I had a good time fishing yesterday. I 
caught five suckers, three eels, and about half a dozen 
catfish. Pretty good luck, wasn't it ? 

M. — I suppose so ; but I am surprised that you had 
time to go fishing. I don't see when you got your 
drawing done. 

L. — Why, this morning, I tell you, at recess. If the 
boys hadn't been nudging me all the time and hurrying 
me up to go out, it would have looked first-rate, too. 

M. — If you had worked at it last Saturday as I wanted 
you to, you wouldn't have been disturbed by the boys. 
However, we will hope that it will take a prize, for 
mother's sake. 

L. Oh, I guess it is as good as the other boys'. It 
don't worry me, anyhow. 

M. — No, I wish you would worry a little more about 
some things ; — 

L. — If you're going to begin to preach, please excuse 
me, while I go on with my writing. Time's precious, 
you know. 

(Enter Mabel, carrying a roll) — O, Lynn, here is your 

drawing paper. Mr, J asked me to give it to you 

to do over. He says it's a disgrace to his school, and 
you ought to be ashamed to send in such work. (Hands 
him the paper.) 

Ben pushing in). — I say, Lynn, the big pig is out, 
and is racing all over the garden. All of the school-boys 
are after him, but they can't catch him, and oh, you 
ought to see the peas and beans and things. I don't 
know what papa will say. 

L. — Nor I, either. I say, Marion, can't you help me 
out of this scrape ? Here's my drawing to be done over, 
the pig to catch, and the garden to put in order. 



YOUNG folks' entertainments. 67 

v M. — And this letter to finish. 

L. — Yes ; I'll soon finish that {picking it up and tearing 
it into pieces), and the next time I undertake to do a 
thing," I don't think I'll be in such a hurry. 

M. — You mean, you'll begin in time. That's where 
your trouble is, Lynn. You put off your work until the 
last minute, and then it's all rush and hurry to get 
through. What are you going to do now ? 

L. — Drive that crowd of hooting boys out of the 
garden, fix up the pig-pen in a little better style, and 
then politely invite Mr. Pig to walk in. Maybe he 
didn't like the looks of his house, and that's the reason 
he walked out. 

M. — I will do what I can to help you. I was afraid 
your "nail or two" wouldn't stand the test; and, you 
see, you have made for yourself double work, by not 
keeping in mind the fact that " Poor work don't pay." 



68 YOUNG folks' entertainments. 



TABLEAUX. 



HINTS FOR TABLEAUX. 

Be sure to have a strong light thrown on all tableaux. A poor light 
makes of the best picture, a partial failure. 

A large frame, makes an effective setting for tableaux of a single figure. 
To show a bust picture, have the frame so arranged on a stand or other 
base, that drapery will conceal the lower part of the figure. For this 
style you may have portraits, or typical figures, as Purity, Innocence, 
Prayer, etc., etc. 

Colored lights thrown upon a tableau make it vastly more effective. 
Do not do this in a hurry. Let the picture be fully seen by the plain 
light, before the colored light is thrown. 

Scenes. 

1. Going to the Train. Characters : Two ladies, one 
gentleman, one child. Gentleman with valise ■ and 
umbrella in hand and duster over arm. First lady 
with numerous bundles and baskets. Second lady with 
bird-cage in one hand, holding child by the other. All 
apparently hastening to catch a train. 

2. On the Train. Characters : Lady and gentleman. 
The lady wears a long trained dress. On the train the 
gentleman has his foot. He is in the act of bowing 
apologetically. She has her head half turned toward 
him with a look of scorn at his awkwardness. 

3. Evening Prayer. Little girl in long, white night- 
dress — kneeling — hair flowing. Her hands are clasped 
in attitude' of prayer, her eyes uplifted. A position 
side wise to the audience is prettier than full face. 

4. Grandma's Schooldays. A little girl in old-time 
dress and bonnet. A frilled cap under bonnet— slate 



YOUNG folks' entertainments 69 

under her arm, reticule in one hand — umbrella in the 
other. In the act of walking — body sidewise, face full 
toward the audience. 

5. Counterfeit Money. Characters : An old woman 
and a little girl. The little girl has a well-filled market- 
basket on her arm, carrots and other vegetables showing 
beneath the lid. She wears a shawl over her head, and 
on her face is a look of distress as her grandma examines 
the change she has brought from the market, she having 
evidently taken a " bad coin." The old lady, in old 
lady's dress of the poorer class, has a tin basin on her 
lap in which are turnips which she has been paring. 
On her face is a look of severe disapproval as she 
examines the coin. 

6. " He loves me : he loves me not." A young girl 
in simple dress w T ith a daisy in her hand, from which she 
is pulling the petals to try her fortune. 



TOO HOT. 



A small boy is seated on a high stool holding a bowl 
in one hand and a large spoon in the other. His eyes 
are very wide open. He holds the spoon near his 
mouth, and his lips are fixed as in the act of blowing. 
His legs should be twined around the legs of the stool 
in boy fashion. 

PLAYING DOCTOR. 

small boy (the patient) is seated, with bare feet in 
a pail, a handkerchief tied around his head, and a shawl 
thrown over his shoulders. A large boy (the doctor) has 



70 YOUNG folks' entertainments. 

on a high hat and a man's coat. He is feeling the pa- 
tient's pulse, with a very wise look. A girl (the sick 
boy's mother), with long dress and cap, holds cup and 
spoon, and looks anxiously at the doctor. Several 
bottles are on a stand near by. 



I WONDER WHOM IT IS FROM? 

A girl in old woman's dress, is holding a letter off 
from her and scrutinizing the superscription, while a 
boy, dressed as her husband, looks on with evident in- 
terest. 



PLAYING GRANDMA. 

A little girl is sitting on a high, straight-backed 
chair. She has on an old lady's cap, with frill around 
the front, a kerchief pinned across her breast, and spec- 
tacles. She holds a partly knit stocking, with the 
needles in it, in her hands as though at work. 



OLD TIME LOVERS. 

Large boy and girl dressed in the costume of the 
Revolutionary period. Boy with knee breeches, having 
a frill of lace at the knee, a ruffled shirt front, a white 
wig (which can be made of cotton), and carrying a 
cocked hat. Girl in white wig or powdered hair, 
wearing a court train, elbow sleeves, and silk mitts. 
The boy, bowing low to the girl, is holding the tij>s of 
her fingers and stooping, as if kissing her hand. 



YOUNG folks' entertainments. 71 

A FEEE SMOKE. 

A gentleman is having his boots polished by a street 
boot-black^ He stands with his hand behind him, in 
which is a lighted cigar (a candy imitation cigar to be 
used). A street gamin, in ragged hat and jacket, is in 
the act of taking a whiff of the unconscious gentleman's 
choice Havana. 



BEFORE THE EXPLOSION. 

An old lady, w T ith a peaceful expression of face, is 
asleep in an easy-chair, while her grandson, with a mis- 
chievous smile, stands near holding an inflated paper 
bag close to her ear, his empty hand held in position for 
exploding the bag. 



AFTER THE EXPLOSION. 

The old lady, with a bewildered, scared look on her 
countenance, is standing with her hands covering her 
ears. The boy is seated, and with a solemn face, is dili- 
gently reading a book or newspaper, which is upside 
down. 



72 YOUNG folks' entertainments. 



READINGS AND RECITATIONS. 



WHAT THEY SAID. 



Dear little Madge went out one day, 
Into the old barnyard to play ; 
Among the flocks and herds she walked, 
And this, she says, is how they talked. 

" Moo, moo," said the cow, " moo, moo, 
I give nice sweet milk to you ; 
Butter and cheese from me you get, ; 
Beef and tallow and more things yet, ! 
Without my help what would you do? 
Moo, moo," said the cow, " moo, moo." 

" Baa, baa," said the sheep, " baa, baa, 
I give soft wool, that your mamma 
May make you socks and mittens w T arm, 
To shield you from the wintry storm. 
Without my aid you ne'er could keep 
So warm. Baa, baa," said the sheep. 

" Cluck, cluck," said the hen, " cluck, cluck," 

As up her saucy head she stuck. 
" Delicious eggs for you I lay, 

A nice fresh egg, day after day ; 

You could not do without me then. 

Cluck, cluck, cluck, cluck," said Mrs. Hen. 

" Quack, quack," said the duck, " quack, quack. 
I'm sure that I need not stand back, 



YOUNG folks' entertainments. 73 

For I too lay you eggs so fine, 

And are hens' eggs as large as mine ? 

If one of us you'd have to lack 

I think I'm not the one. Quack, quack.'' 

Bow, wow," said the dog, " bow, wow. 
Dear little miss, I'll tell you how 
I watch and guard your house for you, 
And take care of your barnyard too, 
Of duck and hen, of sheep and cow. 
Bow, wow," said the dog, " bow, wow." 

Then little Madge, in her sweet way, 

Brought for the cow a wisp of hay ; 

Some fresh grass for the sheep she got, 

And corn-meal scattered in the lot 

For hen and duck ; with loving thought, 

A bone to Rover then she brought 

With word of praise. And thus she showed 

To all the gratitude she owed. 



MY BEST FRIEND. 



(To be spoken by a small girl holding a large orange.) 

I am going to give this orange 
To the one I love the best, 

The one who, of my many friends, 
Is dearer than the rest. 

Perhaps you think it's Fanny Jones, 

Or little Edith Price ; 
But if you do, you're surely wrong, 

Although they both are nice. 



74 YOUNG folks' entertainments. 

If I had two, instead of one, 

I know what I would do ; 
I'd give one to lame Nellie J., 

Her pleasures are so few. 

But I can't give her this, oh, no ; 

It's for my dearest friend, 
The one for whom I'm sure, my love 

Will never, never end. 

The one who cares the most for me, 

Who gives me all I need, 
Who nurses me when I am sick, 

Oh, she's my friend, indeed. 

Now she is sick and suffering, 
Her head has ached all day ; 

Perhaps this nice sweet orange 
Will drive the pain away. 

Of course, ere this you've guessed her name — 

There surely is no other 
Whom I can ever love so well 

As my own precious mother. 



NED'S BEST FRIEND. 



(To be spoken after " My Best Friend.") 

I have an orange, too, like May's — 
As big and ripe and sweet ; 

And so I think that my best friend 
Shall also have a treat. 



YOUNG folks' entertainments. 75 

If you would like to see this friend 

I'll introduce him now ; 
He stands before you — 'tis myself; 

And now I'll make my bow 



THE NEW TOY. 



(To be spoken by a very little boy, who has in his hand a " Jumping- 
Jack," or some similar toy. At the close of his speech he must work the 
toy for a minute or two.) 

I want to show you something, 

'Tis something very funny, 
My mamma bought it for me, 

It cost a heap of money. 

'Twill make you laugh ; perhaps you'll say 

It is not very pretty, 
But I think it's the nicest toy 

In all this great big city. 

Now in a minute you shall see, 

This funny little toy ; 
And then, I hope you'll get one, for 

Your little girl or boy. 



A LITTLE SPEECH. 



Good afternoon, folks, 
Pray how do you do ? 

I want to make a speech 
This afternoon to you. ' 



YOUNG FOLKS ENTERTAINMENTS. 

I hope you all are well, 

And all happy, too! 
Now I've made my speech. 

Do you think it will do? 



CATCH THE SUNSHINE. 



Be not gloomy ! Catch the sunshine ! 

Let it brighten all your way. 
As through life you onward journey, 

Catch the sunshine day by day. 
Light's Creator surely meant not 

You, in gloom, should shroud your life 
When above and all around you, 

Glorious sunshine is so rife. 

Lead a life as glad as may be, 

Give not way to dark despair, 
Sorrow courted, soon grows grasping, 

Marking every day with care. 
Catch the sunshine. Throw off sadness ; 

You can do so, if you will, 
And such effort, doubly blessed 

Your life's hours with joy will fill. 

Catch the sunshine ! Be not gloomy ! 

If in darkness here one lives, 
Can your unaccustomed senses 

Bear the brightness Heaven gives? 
Can your heart, to gloom accustomed, 

Bear the glory of the skies ?— 
Golden streets and radiant faces 

Of the saints in Paradise ? 



YOUNG folks' entertainments. 77 

Catch the sunshine that Hope giveth, 

Use it as your daily, food. 
Catch the sunshine that Faith spreadeth, 

Let it do its work of good. 
Catch the sunbeams Love doth scatter, 

In your life's web w T eave them fast. 
Beams of Faith, Hope, Charity, 

Warmed by these, let life be passed. 



CHKISTMAS BELLS. 



Eing, Christmas bells, 

Ring, merrily ring, 
Ring tidings of great love ; 

The love of men 

To men again 
Resembling that above. 
Tell the tale of generous deed 
By prosperous man to man of need. 

Ring, Christmas bells, 

Ring, cheerily ring, 
Ring tidings of great peace, 

Of wrong act righted, 

Friends re-united ; 
Ring unkind thoughts' surcease. 
Tell the story of wrongs forgiven, 
For the sweet sake of Christ in Heaven. 

Ring, Christmas bells, 
Ring, happily ring, 



78 YOUNG folks' entertainments. 

Ring news of love divine. 
Of faith renewed, 
Bad deeds eschewed, 
In this sweet Christmas time. 
Tell the story of man's salvation ; 
Ring loud the Christmas proclamation ; 
Sound it forth cheerily once again, 
" Peace on earth, good-will to men." 



A TROUBLESOME VISITOR. 



A most mischievous sprite 

Was abroad all last night ; 
And oh ! dear, what tricks he did play. 

If you'll listen, Til tell 

Some events that befell, 
From the course of this troublesome fay. 

With his chill finger tips, 

He gave sly little nips, 
At the flowers of the garden so bright. 

Each flower drooped its head 

At his touch, so ill-bred, 
But .this only pleased the wild sprite. 

Then he put out his hand, 

And he tapped with his wand, 
Our useful town-pump on his nose. 

This insult the pump 

Swallowed all in a lump, 
Which so choked him, he instantly froze. 



YOUNG folks' entertainments. 79 

Next, some fruit on the trees, 

Our playful sprite sees, 
And resolves to put on them a spell ; 
. So he breathes his chill breath 

And chuckling he saith, 
My trade-mark is placed on you well. 

He pinched sharply the toes, 

While he reddened the nose, 
Of a lad wandering out on the street. 

Pray, look out for him, boys* 

For 'tis one of his joys 
To pinch tender fingers and feet 

He next broke a rare glass. 

'Twas left standing — alas ! 
Just where he could reach it and break. 

O, the mischief this sprite 

Accomplished last night 
Was no trifle — done just in mistake. 

Shall I mention his name ? 

'Tis well-known to fame, 
And already you surely have guessed. 

So 'tis hardly worth while, 

Yet to finish in style 
I'll call out " Jack Frost " with a zest. 



80 YOUNG folks' entertainments. 



BE POLITE. 



When you meet a lady, 

Take off your hat and bow. 
Perhaps you think you cannot, 

If so, I'll show you how ! 

{Puts on cap and takes it off, bowing.) 

If you're asked a question, 

Do not hang your head, 
And refuse to answer ; 

.That is quite ill-bred. 

When you meet your school friends, 
Don't whoop and shout and yell ; 

A merry, bright " Good morning," 
Should answer just as well. 

Don't think it manly to be rude, 

And by rough ways annoy; 
Eemember that a gentleman's 

A grown-up gentle boy. 



MY DOG. 



I want to introduce my dog, 
My good old dog named Styx ; 

He's just the very smartest dog, 
And does the 'cutest tricks. 



YOUNG folks' entertainments. 81 

He'll gravely offer you his paw, 
Which means, "How do you do?" 

Or he will walk on his hind legs 
Across the room to you. 

And he can catch a silver coin, 

If thrown up in the air ; 
This coin he'll then return to you, 

With very greatest care. 

Styx carries in the papers too, 

When left at the front door ; 
He guards the house and barks at tramps, 

What dog could e'er do more ? 

And yet he is the gentlest beast, 

When any friend comes near ; 
He wags his tail and looks so kind, 

A baby could not fear. 

I would not give away my dog, 

For any price you'd fix ; 
All I can do, is just to hope 

You'll find a second Styx. 



OPENING ADDRESS. 



To my lot has fallen the pleasant duty of welcoming 
you, dear parents and friends, to our school-room on 
this festal occasion. My words of greeting shall be 
few, but I trust you will feel they are sincere. It gives 
us pleasure to see you all here, and we hope you will find 



82 YOUNG folks' entertainments. 

pleasure in thus spending an hour with us. We have 
prepared our exercises in speaking and singing with all 
the care we could, hoping to make them pleasant to 
your ears. And as 

Large streams from tiny sources flow, 

And great lives from small beginnings grow, 

so may our youthful efforts (unpretending as they seem 
to be) be the germs of future works which shall exert a 
wide influence for culture throughout the community in 
which we live. 



WHO MADE THE SPEECH? 



For a small girl holding a doll. 

'Tis dolly's turn to speak a piece ; 

(Now, don't be frightened, dear ;) 

( Caressing her doll.) 
Her voice is weak, but if you're still, 

I think you all can hear. 

She's never been away from home, 

And so she feels quite shy ; 
(There, never mind, my precious babe, 

We'll go home by and by.) 

I s'pose she takes her bashfulness 

From me — her mamma, dear ; 
If I should try to speak, I know 

I'd almost die with fear. 



YOUNG folks' entertainments. 83 

When mamma asked me yesterday, 

If I would speak to-night, 
I told her " No," for I felt sure 

I couldn't do it right. 

" Well, little daughter, never mind," 

Then darling mamma said, 
" We'll dress your dolly in her best, 

And let her speak instead." 

So that is why I've brought her here — 

(Why, dolly, are you ill ?) 
Just see how she is trembling — 

Poor dear, she can't keep still. 

She's nervous and excited, too, 

So now we'll say " good-bye ;" 
Has dolly made a speech to-night, 

I wonder, or have I ? 



MOVING. 



(To be spoken by a little girl, with her arms full of the various articles 
mentioned.) 

Our house is topsy-turvy, 

Completely up-side down ; 
We're busy, oh ! so busy, 

We're going to move to town. 

I've gathered all my playthings, 

My kitty and my dolls ; 
My books and blocks, my hoop and rope, 

And pretty painted balls. 



84 YOUNG folks' entertainments. 

I mean to carry them myself, 
Then they'll be sure to go ; 

I cannot trust the " grown-up " folks, 
They do neglect things so. 

And when they put. me in the car, 
And tell me to " Sit still," 

I'll hug my treasures in my arms, 
And will not let them spill. 



BABY'S DRAWER. 



My eyes are filled with blinding tears, 

As from this little drawer 
I take each article of dress 

Our darling baby wore. 

Here is a robe of snowy-white ; 

With trembling hands and cold, 
I lay it by, with reverent touch, — 

A mem'ry in each fold. 

Here is the dainty sacque he wore, 

Made of the softest wool ; 
I fold it up with sad caress, 

The while, my heart is full. 

His shoes — the tiny, dainty things — 
His stockings soft and white— 

As from the drawer I take these out, 
My day seems turned to night. 



YOUNG folks' entertainments. 85 

And yet to me the baby's drawer 

Is as a sacred shrine, 
Holding a treasure, dearer far 

Than gem in richest mine. 

My heart is sore, yet would I not 

Part with one memory sad ; 
I'd rather weep o'er baby's drawer 

Than mingle with the glad. 

My baby, robed in angel's dress, 

Is blessed in Heaven above ; 
My heart bereft, receives one hope, 

I know God took in love. 



PHIL'S COMPLAINT. 



I'm Phil, and I have a complaint — not a headache, 
nor measles, nor rheumatism, not that kind of a com- 
plaint at all. My complaint is, that I'm the middle boy 
of the family. Maybe some of you will wonder what 
there is to complain about in that. Well, all I have to 
say is, that if you don't know the hardships of such a 
position, then you've never been the middle boy. You 
are either the oldest boy, with all the oldest boy's 
rights and dignities, or else you are the youngest boy, 
with all the favors and privileges which the youngest of 
the family always enjoys. 

Alas ! alack ! I'm a middle boy, and I know what I 
am talking about. Will — that's my oldest brother — 
he's sixteen years old, and he thinks he's a young man 
— gets invited to parties to act as escort to sister Emily, 



86 young folks' entertainments. 

and he dresses up in his swell clothes, and wears a 
buttonhole bouquet, and off he goes to the aforesaid 
parties and gets all the ice-cream and white grapes he 
can eat. 

I like good things too, and when I want to know why 
I am not invited to the parties, I'm told, " Oh ! Phil, 
you are too young yet." Will has a watch, too, left by 
grandpa to his eldest grandson. I'm not the oldest, and 
I have no watch. Then, on the other hand, there is 
Harry— that's my youngest brother, eight years old and 
the baby of the family. Harry always goes to the sea- 
shore with mamma, because " He's the youngest, you 
know, Phil, dear, and you must give up to your littl<? 
brother." 

Then Harry must have the biggest apple, and the first 
choice of the chocolate creams, because " Bigger brothers 
must not be selfish toward their little brothers, Phil, 
you know." 

Yes, yes, I have room enough for complaint, and if 
you don't think so, I'll leave the question to be decided 
by a committee consisting of all the middle boys in this 
assemblage. 



THE LOST KITTY. 



Have any of you seen my kitty ? I have hunted all 
over the house for her and I can't find her anywhere. 
She's not under the stove nor up in my bed, and I don't 
know what to do. Won't you help me look for her ? 
She is a gray kitty with a white spot between her eyes. 
You will know her by that. Her name is Spot, and 



YOUNG folks' entertainments. 87 

she knows it just as well as I know my name. When I 
have a saucer of milk for her, and call, " Here, Spot, 
Spot, Spot," she runs as fast as her little feet can trot. 
Oh, dear, where are you, kitty ? I wish I could find 
you. I hope no big bad boy, or naughty little girl has 
carried you away. Hark! What is that? "Meow, 
meow, meow." Why there she is now on the window- 
sill. Just wait, my precious darling old kitty, until I 
get you in my arms. 



SIXTY YEARS AGO. 



I'm very glad I did not live 

Some sixty years ago ; 
For children then had no such fun 

As they have now, I know. 

My grandma says when she was young, 

She had no pretty toys, 
Like those that Santa Claus now brings 

To little girls and boys. 

My grandma thinks that little folks 

Are now-a-days allowed 
To have too many handsome toys ; 

She says they're spoiled and proud. 

Why, only think! I've heard her say, 
, When she played " Come to tea," 
She only had old broken plates, 
Or saucers, it might be ; 



88 YOUNG folks' entertainments. 

Or such cracked dishes as she found 
That had been thrown away ; 

And these she said were treasures rare, 
With which she loved to play. 

Such playthings I should not have like< 

And so I say again, — 
" I'm very, very glad indeed, 

I wasn't living then." 

Now, I've a tea-set all complete, 

A walnut table, too ; 
And I can sit and pour out tea 

As grown-up people do. 

Dear grandma says the happiest time 
It has been her lot to know, 

Was when she was a little girl, 
Some sixty years ago. 

Well, I am glad for grandma's sake, 
Since it has pleased her so, 

That she lived then, but I did not, 
Some sixty years ago. 



COMPOSITION ON ANIMALS. 



(To be read by a big boy in a high-pitched, nasal tone.) 

There are a great many kinds of animals ; such as the 
rat-terrier, and the rhinoceros, and the coon, and the 
orang-outang, and the opossum, and the poll-parrot, and 



YOUNG folks' entertainments. 89 

a few others. The dog is a very useful animal. He 
can play tricks, and howl when anybody is going to 
die. The pig is a very interesting animal also. He is 
not so nice a housekeeper as some other folks, but he is 
very useful in the " buckwheat cake and sausage " 
season. The locust is composed principally of a voice, 
the rest of him is not worth noticing. A rabbit is not 
so big as an elephant, but he can run faster. 

Why is an elephant like a summer boarder? Be- 
cause he takes his trunk with him. I made up that 
conundrum to put in this composition. A porcupine is 
a very curious animal. Judging from his appearance, I 
do not believe he would make a very comfortable bed- 
fellow. He appears to be too proud, that is, too much 
stuck up. A cat is a domestic animal. Our cat once 
got into a pan of dough and made a mess of it, and 
mother got after her with a stick. This is why she is 
called a dough-mess-stick animal. A mosquito is not so 
large as a man, but if there is a difference of opinion 
between them, and the man wants to sleep and the mos- 
quito don't want him to, you may be sure the mosquito 
will come off victorious. 

The zebra is a little horse, painted with black and 
white stripes. He is principally useful to put in the 
primer to illustrate the letter " Z." 

Animals are very useful to the circuses, 'cause the 
minister and his wife, and the deacon and his wife, and 
their grown-up relations, can all go to take the baby to 
see the animals. The cow is an animal having four 
legs, one on each corner of her. She also has two horns, 
but she cannot make as much noise with them both as a 
small boy can at Christmas time with only one. 

This is the end of my composition. 



90 YOUNG folks' entertainments. 

SAMMIE— SALLIE. 



Sturdy Sammie Simpson sought sweet Sallie Stevens' 
society so solicitously — several social societies severally 
said sententiously, "Sallie's surely secured Sammie! 
Sallie's Sammie's sweetheart ! Sammie's Sallie's slave ! 
Society shall soon see something startling !" 

Saturday Sallie sat sewing steadily, singing softly. 
Suddenly seeing Sammie's shadow, she seized scissors, 
snipped savagely, still singing softly. 

Sammie said, slyly : " Sweetheart, sing Sammie some- 
thing sadly sweet." 

Sallie started — seemingly surprised — saying : " Sam- 
mie Simpson, stop saying such silly stuff. Spoony senti- 
ments sound soft. Say something sensible." 

So Sammie straightway said : " Sweetest Sallie, set 
sometime soon." Sallie serenely said : " Say Sunday." 
" Surely, surely," shouted Sammie, supremely satisfied. 

Sequel : Sammie Simpson's safely secured. Sallie 
Stevens' settled. Sammie's suited. Society's satisfied. 



YOUNG folks' entertainments. 91 



CONCERT RECITATIONS. 



PROVERBS. 

ALPHABETICALLY ARRANGED. 



(To be given as a concert exercise. To insure keeping together, the 
teacher calls the letter, and the school respond with the proverb ; or the 
proverbs may be given singly in answer to roll-call. The teacher calls the 
school-roll and each pupil responds to his name with a proverb.) 

A. 

As by his notes, a bird is known, 
So by their discourse, men are shown. 

B. 

Better it is to lonely be, 

Than with the bad keep company. 

C. 

Count that day lost, whose setting sun 
Sees no kind deed, nor good act done. 

D. 

Debt is a poverty far worse 
Than carrying an empty purse. 

E. 

Each day we live, doth form a leaf 
In our life's volume, long or brief. 

F. 

Faint heart ne'er won a lady fair, 
To win, one must both do and dare. 



92 YOUNG folks' entertainments. 

G. 

Great streams from tiny sources flow, 
Great lives from small beginnings grow. 

H. 

Hope on, hope e'er ! Hope is a friend 
• That we shall need, until life's end. 



Into your homes, let sunshine glow, 
Into your hearts, let gladness flow. 



Just as is bent the little twig, 

So will the tree be, when grown big. 

K. 

Kind words are but the little seeds, 
Yet these spring up and bear kind deeds. 

L. 

Labor can conquer everything ! 
Then praise of labor let us sing. 

M. 

Make haste, with care. Who goes too fast 
May find he in the race is last. 

K 

No new thing is there 'neath the sun. 
All things that shall be, hath been done. 



YOUNG folks' entertainments, 93 

o. 

Out of the fullness of the heart, 
The mouth its utterings doth impart. 

P. 

Pretty is, as pretty does. 

And yet how much we think of clothes. 

Q- 

Quiet content is more than wealth, 
And surely tendeth to good health. 

K. 

Read books well writ ; choose friends well bred ; 
Good counsel take ; be wisely led. 

S. 

Speech is silver — but silence, gold ; 
Then tell not all that you are told. 



Time and tide for no man wait, 

Be quick and prompt, nor come too late. 

U. 

United, we shall firmly stand, 
Divided, our foundation's sand. 

V. 

Vanity, vanity, all is vain 
Soundeth the preacher's sad refrain. 



94 YOUNG folks' entertainments. 

w. 

Who to his friends his money lends, 
May lose both money and his friends. 

X. 

Excelsior ! Go up ! go higher ! 
Nor be content with clay and mire. 



Youth is the time to sow good seeds, 
And wage a warfare 'gainst the weeds. 



Zeal in our work, without discretion, 
Like pointless wit, makes slight impression. 



THE KITTENS. 



A CONCERT RECITATION. 

In Costume. 

For three little girls, attired as kittens, two in white and one in gray. 
(The costume consists of a rather close-fitting sack of Canton flannel, 
made long enough to quite cover the dress, and having sleeves long 
enough to extend over the hands— the ends of the sleeves to be closed. 
This will give the appearance of paws. Stockings to match the sack in 
color must be drawn over the shoes, and reach above the knees. A close- 
fitting cap (like a nightcap), with pieces fastened on, to stand up and rep- 
resent a kitten's ears, completes the costume. The arms should be slightly 
extended, with the hands hanging limply down.) 

Three little kittens in a row, 

Meow, meow, meow ; 
We want to tell you what we know, 

Meow, meow, meow ; 



YOUNG folks' entertainments. 95 

We know that milk is white and sweet, 
We know that mice are good to eat, 
We know that fish is such a treat, 
Meow, meow, meow. 

Three little kittens, glad and gay, 

Meow, meow, meow ; 
Two in white coats and one in gray, 
Meow, meow, meow. 
First Voice. — My name is Wool. (Second,) And mine 
is Snow, 
Both. — Because we're white— we are called so. 
Third. — -'And mine is Muff — gray Muff, you know. 
AIL — Meow, meow, meow. 

We blink and purr when we are pleased, 

Purr-r, purr-r, purr-r ; 
But spit and scratch if we are teased, 

( With gesture.) 

Meow, meow, spts-s. 
To make this speech, we here have come, 
Are we not brave — thus far to roam ? 
But now — " good-bye " — we must go home, 

Meow, meow, meow. 



OUR FLAG. 



(To be spoken by boys carrying the United States flag, which they wave 
from time to time.) 

Hurrah, for our flag ! 
Our beautiful flag ! 



96 YOUNG folks' entertainments. 

Our glory and also our boast, 
Its colors so true, 
The red, white, and blue, 

Have marshaled many a host. 

Hurrah, for its stripes ! 

Its thirteen gay stripes ! 
And the States those stripes represent. 

The colonies strong, 

That brooked not a wrong, 
Nor injustice bore with content. 

" Give us our rights — 

Our colonial rights — 
Nor tax us without our consent," 

To Old England they said, 

Nor were they afraid 
To fight, when they found war was meant. 

Yes, hurrah, for each stripe ! 

Each red and white stripe ! 
And hurrah for the Union of blue ! 

With its thirty-eight stars, 

Surmounting the bars, 
Each star for a State ever true. 

O, our hearts swell with pride, 

With the patriot's pride, 
When our ensign appears to our view, 

With its wonderful bars, 

And silvery stars, 
Besprinkling the dark field of blue. 

Then join voices, boys, 
And give three hurrahs 



YOUNG folks' entertainments. 97 

For our star-spangled banner so dear. 

All ready ? Hurrah ! 

Hurrah and hurrah ! 
And now for one other last cheer. 

( Wave flag and hurrah.) 



OUR AVORK. 



(For a class of little ones.) 

We are a class of little tots ; 

Now, w T ould you like to hear 
What work we do w T hen we're in school ? 

This year is our first year. 

But if you think- we do no work, 
You don't know everything ; 

We, read and write, we draw and spell, 
And pretty songs we sing. 

We tell the colors, and we count ; 

O, busy folks are we ; 
But next year we shall do much more, 

For then we'll bigger be. 



THE FARM BOYS' SONG. 



(For several boys.) 

Pulling the weeds from the garden, 
Driving the cows home at night, 

Dropping the corn in the spring time, 
Nailing a pale on tight ; 



$% YOUNG FOLKS' ENTERTAINMENTS. 

Hunting for eggs in the barn-yard, 

Looking for turkeys astray, 
Carrying lunch to the reapers, 

Tossing the new-mown hay ; 
Riding the horses to water, 

Feeding the chickens and cows, 
Throwing the hay to the mangers, 

Down from the fragrant mows ; 
Whitewashing corn-cribs and fences, 

Gathering fruit from the trees, 
Covering the flower-beds in autumn, 

For fear of an early " freeze ;" 
Pumping the clear, cool water, 

Chopping an arm load of wood, 
These are the farm boys' " gymnastics." 

They're cheap, but none the less good ! 



MOTION RECITATIONS IN CONCERT. 



LITTLE HOUSEKEEPERS. 



(For several little girls.) 

Busy and happy young housewives are we ; 
Not very big specimens — that you can see- 



But we've just the same housework of all kinds to do 
That the big, grown-up housekeepers have to go through. 

Since Monday is wash-day, all the world round, 1 
At the wash-tub, on Monday, we're sure to be found. 
We rub Dolly's clothes till they're pure as the snow, (1) 
Then we rinse them, and wring them, and hang them 
up, so. (2) 



YOUNG folks' entertainments. 99 

On Tuesday, the ironing has to be done, 

So we sprinkle and fold (3) — that's the part that is 

fun !— 
And we smooth out the wrinkles with our irons thus, 

you see, 
Kubbing backward and forward, till they're smooth as 

can be. (4) 

On Wednesday, we bake — and oh ! 'tis such fun 
To knead the soft dough — this is how it is done. (5) 
For our cakes, we must have just the finest of dust. 
Then our pies — this is how we roll out our crust. (6) 

On Thursday, there's nothing especial to do, 
So we do odds and ends — darn stockings or sew. (7) 
But on Friday, with brooms we make the dust fly 
As we sweep the house o'er, where'er dirt we espy. (8) 

And at last, when Saturday comes — oh ! dear ! dear ! 
We're busy as any grown folks ever were, 
We clean, and we scrub, and we brew, and we bake. (9) 
Then our week's work all done, Sunday rest we can 
take. 

1. Make the motion of rubbing up and down as on a 
washboard in washing. 

2. Make the motion of wringing clothes by hand, and 
then reaching up, to hang them on the line. 

3. Motion of sprinkling. 

4. Using the right hand, move smoothly left and 
right, — left and right, etc. 

5. Move alternately the doubled fists, up and down 
as in kneading dough. 

6. Use both hands, making a smoothing motion. 



100 YOUNG folks' entertainments. 

7. Motion of sticking a needle in and out. 

8. Holding the hands as though holding a broom, 
make a sweeping motion. 

9. Count off with the right hand, on the fingers of the 
left, each item. 



IN THE MOKNING. 



(For any number of little ones.) 

In the morning, when we rise, 

To bathe is our first care ; 
We wash our hands and faces, so, (1) 

And next we brush our hair. (2) 

Then when we neat and tidy are, 
Down stairs we quickly go. 
" Good morning, Ma !" " Good morning, Pa !" (3) 
We greet our parents, so. 

We go to breakfast, and we tie 

Our bibs thus, round our necks ; (4) 

For should we soil our nice clean clothes, (5) 
Our mother we might vex. 

We drink our wholesome, fresh, sweet milk, 

Thus from our mugs you see, (6) 
We use our knife and fork this way (7) 

Cutting so carefully. 

Our breakfast done, we get our books, (8) 

And so for school prepare. 
These things we do, or ought to do, 

Each morning, with great care. 



YOUNG FOLKS' ENTERTAINMENTS. 101 

1. Eub hands, then lift them to the face and rub it, 
as in the act of washing. 

2. With the right hand, smooth the hair. 

3. Touch the lips with fingers of the right hand, wave 
the haud and bow the head, first to the right and then 
to the left. 

4. Both hands at the back of the neck, as if tying on 
bib. 

5. Both hands down lifting sides of dress, for a girl — 
no motion for a boy. 

6. Right hand held to mouth as though drinking from 
a cup. 

7. Use both hands with a cutting movement. 

8. Right hand down and out, as though taking up 
books. Lift the hand and place under left arm. 

(All the motions to be practiced till they can be given 
exactly together.) 



WE ARE FOUR. 



CHARACTERS. 

Four children, ten or twelve years of age. 

(The letters N. E. W. S. in large print are to be worn, one on the brow 
of each child. A piece of rubber worn around the head will hold the 
letter in place ) 

All — We represent the cardinal points, 

(1st) North, (4th) South, (2d) East, (3d) and 
West. 
All. — From us you gather all the news— 

[each names his letter as he points to it] 
(1st) N, (2d) E, (3d) W, (4th) S. 



102 YOUNG folks' entertainments. 

All (turning faces toward the point mentioned and using 
the right hand toward it also, making the motions exactly 
together). — 

With hand outstretched we point to North, 

And then to East we turn, 
And now we reach the hand to South, 

And next the West you learn. 

Now each shall take his rightful place, 
(1st) N. to the North shall go, 

(passing to the northern part of platform) 
(2d) E. to the east (takes his place) (3d) and W. 
west, (steps to west side) 
S. takes the south point — so (takes his place). 

North. — 

How cold and bleak the place appears, 

How chill the wild winds blow. 
Here the white bear and Polar fox 
Roam midst eternal snow. 

Here the huge whale, and soft -skinned seal, 

Find homes in waters chill. 
Nor flowers nor fruits perfume the air, 

Of frozen vale and hill. 

East. — 

Behold the land of rising sun — 

The far famed Orient — 
The land of silks and teas and myrrh, 

And spices of rare scent. 

Behold its overflowing towns 

Of people gentle-eyed, 
Behold its curious works of art 

In gorgeous coloring dyed. 



YOUNG folks' entertainments. 103 

West — 

Ah ! here's the West — the active West ! 

How shall I sing its praise ? 
I'll tell you of its gourd-like growth, 

Towns springing up in days. 

Here are the wondrous prairies vast, 

The richest soils on earth, 
And in this land of setting sun 

Freedom had joyous birth. 

South. — 

Oh ! lovely, languid, fair South land, 

How sweet thy perfumed breeze, 
Thy flowering groves, thy rich, rare fruits, 

Thy forests of tall trees. 

But in those forests dense and deep, 

Beasts fierce and cruel roam, 
While serpents huge, and insects dread 

Call this fair South their home. 

All (taking their places together agaiii). — 

From the four points we come again, 

And here together stand, 
Wishing for North, East, West, and South, 

God's blessing on each land. 



104 YOUNG folks' entertainments. 



LOOKING AHEAD. 



(For any number of boys and girls.) 

Boys. — 

We now are but boys, 

Yet soon we'll be men, 

And what, do you think, 

Our work will be then ? 

Some shall use hammer, and plane, and saw ; (1) 
Others shall read weighty books of the law; (2) 
Some shall be farmers, and drive the plow, (3) 
Earning our bread by the sweat of our brow, 
Scattering seeds and raking the hay, (4) 
Busy and happy, day after day. 
Some shall be doctors, and with well-balanced skill 
Shall heal all your aches, and send in our bill. (5) 
Some dentists shall be, and your molars pull out ; (6) 
And aldermen, some, capaciously stout. (7) 
Some shall use awl, and waxed end, and last, (8) 
Sewing your shoes so strong and so fast. 
Some shall be bakers, and knead the soft dough ; (9) 
Others clear glass in this manner shall blow ; (10) 
Some with the hammer and anvil shall work, (11) 
And there is not among us, one who will shirk. 
For work is man's portion, and all must agree 
Without it, unhappy and useless we'd be. 

Girk, — 

We're growing up too, 

And as you have heard 
What the boys mean to do 

We'll now say our word. 



YOUNG folks' entertainments. 105 

Some shall be weavers, and with shuttle or spool, (12) 
Weave beautiful fabrics, of silk, cotton, or wool ; 
Some shall use needles, and stitch with such art, (13) 
That the sewing we do, will ne'er rip apart ; 
Some shall use yardsticks and measure off well (14) 
Silks, muslins, or laces, which also we'll sell ; 
Some shall be teachers, and teach all we can (15) 
To our eager young pupils — on the latest new plan ; 
Some shall do housework and scrub, sweep, and broil, (16) 
Making home pleasant, for some son of toil. 

1. The three motions of pounding, planing, and sawing 
in quick succession. 

2. Left hand up, as if holding a book to read. 

3. Both hands closed lightly, and held out in front — 
hands bent down. 

4. Right hand makes the two motions of sowing and 
raking. 

5. Right hand held at quite a distance above the left, 
as though holding a long bill. 

6. Motion of extracting a tooth. 

7. Hands clasped and held out in front forming with 
the arms a semicircle. 

8. Motion with both hands of drawing in and out the 
waxed end. 

9. Doubled fists — kneading. 

1.0. Motion of blowing through a tube. 

11. Vigorous motion of striking the blacksmith's 
hammer on anvil. 

12. Motion of pushing shuttle — left and right. 

13. Movement of stitching with thumb and finger of 
right hand. 

14. A measuring movement, full length of the arms. 



106 YOUNG folks' entertainments. 

15. Eight hand half-way raised, with the forefinger 
out. 

16. Movements of scrubbing and sweeping in quick 
succession. 



DRILLS. 



JAPANESE FAN DRILL. 



For thirteen girls. 

One, representing the captain, wears a cape and hat 
with plume. Twelve girls, in pairs, each pair in a differ- 
ent colored costume ; — example — two in white, two in 
blue, two in pink, two in orange, two in red, and two in 
light green, with caps of same material as dress, form the 
brigade. Any cheap material may be used and will 
look well. The captain holds in her hand a piece of 
cardboard, cut in the shape of a closed fan, which has 
written upon it the figures of the drill. The captain 
calls these figures in front of her brigade, who are 
arranged for procession in single file in this order ; — 
6, 5, 4, 3, 2, 1, 1, 2, 3, 4, 5, 6. Their fans are closed 
and are held against the right shoulder. At the com- 
mand, " Mark time" to four chords on the piano, eight 
steps must be heard, left, right, etc., standing still at 
entrance. 

1. Forward, march. The captain leads the brigade 
all around the stage twice. When they are in line at 
back part of the stage the command 

2. Halt is given. 

3. About face. They turn to audience. No. 1 couple 
will be in the centre. They bow to each other, then 



YOUNG folks' entertainments. 107 

take four long steps forward, bow to the audience, 
separate right and left, and fall in line back of No. 6. 
Then No. 2 does the same, also No. 3, etc., until they 
have been around twice. The third time No. 1 pair 
come front, bow, and turn together to the right. No. 2 
bow, and turn to the left, No. 3 to right, No. 4 to left, 
No. 5 to right, and No. 6 to left. Nos. 1 and 2 pair join 
at back of stage, forming a row of four. Nos. 3 and 4 
form a second row, and Nos. 5 and 6 a third row. There 
are now three rows of four each. 

(During this performance, the fans are closed and 
held at arm's length, down in front, with both hands, 
the captain all the while in front, facing her brigade.) 

4. Shoulder. The fans are held by right and left 
hand to right shoulder (eight counts). 

5. Spread. Open on the breast with both hands 
(eight counts). 

6. Down. Quickly closed at the right side (eight 
counts). 

7. Unfurl. From right shoulder spread fans with 
left and right hand eight times to eight counts. Close 
quickly and 

8. Down. (Eight counts.) 

9. Flutter. Short, quick, fanning movements (eight 
counts). 

10. Wave. Fans spread and waved high over heads 
with right hand. 

11. Scornful. Usual motion of fanning, with heads 
turned scornfully to the left. 

12. Playfid. Lean to audience, smile and flutter fans. 

13. Anger. Face about and stamp one step forward, 
striking fans spitefully on the chest with right hand. 

14. Love. Heads together affectionately, flutter fans. 



108 YOUNG folks' entertainments. 

15. Invite. Bend forward and beckon or invite 
with fans. 

16. Repel. Slow movement of fans in a defiant man- 
ner, from left to right. 

17. Gossip. Heads together as though chatting ; 
flutter fans near the chin. 

18. Present. Fans closed, with both hands out on a 
line with the chin. 

19. Snap. Fans out at arm's length in front, open 
(vertically) and close with right hand four times (mak- 
ing a snapping noise). 

20. Down. Fans closed at right side. 

21. Shoulder. Closed fans held to right shoulder 
(eight counts). 

22. Garry. Eight raps on palm of left hand with 
closed fans. 

23. Fence. The partners raise their closed fans, cross 
and strike to four counts. Cross and strike, down at 
side, four counts. 

24. Ground. Up arm's length (closed fans) touch 
ground and shoulder, up, ground and shoulder. 

25. Triumph. Right foot one step forward, closed 
fans, up. Remain in position eight counts. 

26. Spread. Hands still up in front, high, spread 
quickly, eight counts. 

27. Surrender. Hands remain up, let fans fall to 
floor without moving the hand — remain motionless 
(hand still up). 

28. Recover. Pick up, shoulder (four counts), down 
to side (four counts). 

29. Salute. Touch caps (or lips) with fan, and out at 
arm's length eight counts. 

30. Discharge. Fans spread directly in front, from 



YOUNG folks' entertainments. 109 

the breast and closed violently (making a snapping 
noise), eight counts. 

31. Down, At the side, eight counts. 

32. Retreat. Back row fall apart at the centre, and 
middle row step back into breach. The line thus 
formed fall apart at the centre, and the first row step 
back into breach. One row is thus formed, with part- 
ners together. 

33. Advance. All together, four steps. 

34. Halt. First couple bow to audience (slowly, 
four counts) and turn to the left. Nos. 2, 3, 4, 5, and 6 
do the same and follow in slow movement, fall into 
single file, with fans held to right shoulder with both 
hands. March around in serpentine figure four times. 

35. Wind. One end of the line remains still, while 
the others coil around, until all are close together on 
one corner of the stage.* 

36. Unwind. Go off in single file, zigzag, with fans 
spread and held with both hands back of the head. 

(To every figure eight counts. The brigade count 
silently. The captain may mark time with her fan. 
Any good f-time march will do. Two marches will 
have a good effect — one for the marching, the other in 
the same key for the drill. Do not at any time let the 
fans hide the face. In fluttering they should be kept 
on a level with the chin.) 



TAMBOURINE DRILL. 



(For twelve girls of about equal size, forming the company, and one girl 
as captain.) 

The girls may be dressed in white or fancy costume. 
The tambourines, of medium size, should be trimmed 



110 YOUNG FOLKS' ENTERTAINMENTS. 

with bunches of gay-colored ribbons about half an inch 
in width and three-quarters of a yard long, so tied 
that there will be two streamers of each color, each 
three-eighths of a yard long. These ribbons should be 
placed at each of the openings in the tambourine, 
except at the one by which it is held. The captain may 
carry an imitation tambourine, made of paper, upon 
which should be written the figures of the drill. This 
tambourine may be fastened to a wand, so that it may 
be used in marking time. To every figure eight counts. 
For music, any good f-time march will do. 

Captain enters and takes her position near the front 
of the stage to the left. Company enter, from opposite 
sides, in single files (half the number on one side and 
half on the other, partners being opposite to each other), 
those on the right holding their tambourines in one 
hand, those on the left in the other. They pass each 
other across the back of the stage, and still being in 
single file on opposite sides of the stage march down to 
the front ; there pass each other in line as they did at 
the back, then return to the back, and as the partners 
meet in centre — 1 and 1, 2 and 2, 3 and 3, 4 and 4, 
5 and 5, 6 and 6 — they form an arch with their tam- 
bourines, march in pairs to the front, where they separate 
to the right and left, return to the back, fall again into 
pairs, cross arms holding the tambourines erect and 
march to front, then go in pairs right and left — first 
pair to right, second pair to left, third pair to right, 
fourth pair to left, fifth pair to right, sixth pair to left. 
March round and fall into two rows across the stage, 
first, third, and fifth in front row, second, fourth, and 
sixth in back row, prepared for drill. Tambourines 
must all be held in the right hand for drill. (During 



YOUNG folks' entertainments. Ill 

this march the captain may pace up and down, or stand 
with her arms folded.) After the company has formed 
in two lines, the captain advances and gives the com- 
mand. 

1. Recede. Company take four steps back and are 
in position for drilling. 

2. Bow. Right foot forward, in from of the left, raise 
tambourine to erect position on left shoulder by right 
hand, left hand down at side. (As the tambourine is 
being raised to the shoulder, raise the left hand and 
strike the tambourine with the palm of it, letting the 
tambourine glide from under the hand to the shoulder, 
as the left hand goes down to the side again.) 

3. Down. Tambourine at side (eight counts). 

4. Head. Held with right hand on head (eight 
counts), left foot forward, body slightly bent; left hand 
on hip. 

5. Up. Tambourine back of the head and a little 
above it, held by both hands and slightly tilted to the 
right— head turned a little to the left. 

6. Wave. High over heads with right hand — left 
hand down at side. 

7. Ground. Touch head (one count), shoulder (one 
count), hip (two counts) (all these motions with some 
force), ground (four counts), letting them lie flat on the 
ground, still holding them. 

8. Petition. Raise quickly from ground, hold tam- 
bourine directly out in front, left hand placed across 
the breast. 

9. Listen. Tambourine held back of right ear, left 
hand down at side. 

10. Anger. Partners face each other, stamp and 
raise tambourines angrily as though about to strike. 



t 
112 YOUNG folks' entertainments. 

11. Reconciliation. Let the tambourine fall to the 
side and throw a kiss from the tips of the fingers of the 
left hand. 

12. Poise. Tambourine held down arm's length, left 
foot back, slightly lifted, left hand resting on left hip. 

13. Invert tambourines. Right foot turned out to the 
right, tambourine inverted and held by both hands over 
head, elbows bent. 

14. Elbow. Left arm placed diagonally across breast, 
fingers touching right shoulder, strike tambourine against 
left elbow, and rest the elbow upon it. 

15. Chest. Right foot forward, knee bent, tambourine 
pressed against chest, with both hands crossed on the 
face of it. 

16. Arm movement. Tambourine held by both hands, 
moved forward arm's length, then backward, striking 
chest (four times — eight counts). 

17. Strike. Four raps with tambourine on knuckles 
of left hand (eight counts). 

18. Surrender. Lay tambourines at feet, rise simul- 
taneously, body erect, arms folded in front. 

19. Recover. Stoop and pick up tambourine, resting 
it on right hip — left hand at side. 

20. Success. Tambourine held aloft, left foot crossing 
the right foot in front, and resting on its toes. 

21. Wave. Wave joyfully around the head. 

22. Weary. Right elbow supported by left hand, 
head leaning to right, resting on tambourine, which is 
held in the right hand ; eyes closed. 

23. Doivn. Tambourine at side. 

24. Break ranks. Front row fall back in pairs into 
back row, which breaks apart in pairs to receive them, 
forming one line, with the pairs in regular order, 1 and 1, 



YOUNG folks' entertainments. 113 

2 and 2, 3 and 3, etc., and then they together take four 
steps back (the captain to the side). 

25. Form rings. They take four steps forward, and 
form two circles — six in each, each girl holding her own 
tambourine with one hand, and that of the girl next to 
her with the other. (The tambourines may be held 
arm's length down, or arm's length out.) 

26. Revolve. The circle at the left takes eight steps 
around to the right, then reverse, taking eight steps to 
the left ; while the circle at the right take eight steps to 
the left, then reverse, taking eight steps to the right. 

27. Pair off. They form in line again in pairs, and 
march around the stage. When in middle of stage, the 
first couple face each other, and form an arch with their 
tambourines touching at arm's length above them, held 
by both hands (as in " Kaise the Gate"). The second 
couple pass under them, their tambourines held directly 
in front of them with both hands. As soon as they are 
through, they raise their tambourines, making a second 
arch. The third couple pass through both arches, and 
make a third arch, then the fourth, making a fourth arch, 
followed by the fifth and sixth. Then the first couple 
lower their tambourines, pass through the five arches, 
and separate, one going to the right, the other to the 
left. Then the second couple go through the remaining 
arches and do the same, also the third, fourth, and fifth. 
Then the sixth drop their arms and follow. These two 
lines march around the stage twice, going in opposite 
directions, tambourines at the side. The third time they 
meet, the couples fall together -and march off the stage, 
holding their tambourines with both hands on their 
heads. 



114 YOUNG folks' entertainments. 

A SIMPLE MAKCH. 

WITH HAND MOVEMENTS. 

For any number (a multiple of 4) of boys and girls. 

The movements (excepting the clapping and stamp- 
ing) are not to be made simultaneously as in a drill, but 
upon reaching a given point in the march : thus in 
No. 2 — the hands are to be placed on hips just as each 
couple reaches the centre of the back part of stage pre- 
paratory to moving front. Each movement to be con- 
tinued (excepting clapping and stamping) until the next 
displaces it. 

1. Enter in couples from the back and march entirely 
around the stage once. 

2. March down the centre in couples : hands on the 
outer side being placed on the hips, hand back, thumb 
front. 

3. At the front, couples separate, turning right and 
left, and march in single line to the back ; arms folded 
behind them. 

4. These single lines turn toward sides of stage, turn 
and march front, having arms folded in front of them. 

5. Still in single lines make a short turn and march 
to the back, with both hands resting on hips, arms 
curved. 

6. March to centre of back, when couples join and 
march to the front : partners' hands that are next each 
other resting on each other's shoulders, and their other 
hands just touching with finger-tips the tops of their 
own heads, the arms being bent in a graceful curve. 



YOUNG folks' entertainments. 115 

7. Turn in couples right and left — first couple to 
right; second, to left; third, to right; fourth, to left; 
and so on, each couple having their arms twiued about 
each other's waist. March to the back and turn toward 
the centre. 

8. Aj? centre, first couple meets the second — the third 
meets the fourth, and so on, and they march in fours to 
the front — hands down at sides — where they stand still 
for eight counts or beats, simply marking the time 
lightly with the feet. 

9. Clap hands four times to the next four counts, and 
stamp the right foot four times to the next four. 

10. Resume the march — first couple turning to right, 
and second to left, and so on, each couple crossing inner 
arms and clasping each other's hands behind them. 
March to the back and turn toward centre. 

11. March down centre in couples, arms on the outer 
side extended horizontally at full length. 

12. On reaching the front bring the extended hand 
to the lips and throw an imaginary kiss to audience. 

13. Continue the march around the stage (partners 
clasping each other's hands in front) to point of exit. 



A COMPLETE LIST of the contents of the £JLO€V 
riOXIST'S ANNUAL, Alphabetically Arranged. 



Abraham Lincoln. 

After the Accident. 

Annie and Willie's Prayer. 

Army and Navy, The (Tab- 
leau). 

Beautiful, The (Tableau). 

Betsey and I are Out. 

Blue and the Gray, The. 

Boys, The 

Break, Break, Break. 

Bridge, The. 

Bugle Song. 

Bullum versus Boatum. 

Burial of Moses, The. 

Charcoal Man, The. 

Charge of the Ligdit Bri- 
gade. 

Child- Wife, The. 

Coming and Going. 

Creeds of the Bells, The. 

Crossing the Carry. 

Death of Little Joe. 

Death of Little Nell. 

Difficulty of Rhyming, 

Dying Christian, The. 

Empty Nest, The. 

Experience with European 
Guides. 

Evening at the Farm. 

Extract from the Last 
Speech of Robt. Emmett. 

Farmer's Kitchen before 
Thanksgiving (Tableau). 

Forty Years Ago. 

Frog Hollow Lyceum, The 
(Dialogue). 

Qipsy Camp (Tableau). 



CONTENTS OF No. 

Hamlet's Instruction to the 
Players. 

Hamlet's Ghost, 

Independence Bell. * 

Isle of Long Ago, The. 

It's All for Bread and But- 
ter (Dialogue). 

Jean Anderson, my Joy, 
Jean. 

John Maynard. 

Katie Lee and Willie Gray. 

Katydid. 

Launch of the Ship, The. 

Lullaby. 

Memory of Washington, 
The. 

Modern Cain, The. 

Mrs. Caudle's Lecture. 

My Early Home. 

My Mule. 

Nathan's Case. 

Nobody's Child. 

Old Year and the New, 
The. 

Old Yankee Farmer, The. 

Orator Puff. 

Othello's Apology. 

Our Folks. 

Over the Hill. 

Over the River. 

Patrick Dolin's Love-Let- 
ter. 

Pat's Excelsior. 

Pax Vobiscum. 

Prodigal Son, The. 

Psalm XXIII. 



,The. 



Psalm XXIV. 

Rainy Day, The. 

Relief of Luck now, The. 

Revolutionary Rising, Th* 

Romeo and Juliet, Balcony 

Scene (Dialogue). 
Sam Weller's Valentin* 

(Tableau). 
Scripture Tableaux. 
Scrooge and Marley. 
Searching for Happiness 

(Pantomime). 
Signing the Pledge (Tab- 
leau). 
Smack in School, The. 
Song of the Forge, The 

(Dialogue). 
Song of the Winter Winds. 
Song Revels. 

Spartacus to the Gladiators. 
To a Christmas Pudding. 
To Whom shall we Give 

Thanks? 
Tragedy, A. 
Uncle Pete's Counsel to the 

Newly Married. 
Waif, A. 
Why He Wouldn't Sell the 

Farm. 
William Tell. 
Will the New Year Come 

To-Night? 
Woman's Rights (Tableau). 
Woman's Rights. 
Your Mission. 
You Put no Flowers on mj 
Papa's Grave. 



CONTENTS OF No. 2. 



Andrew Jackson. 

Arnold Winkelried. 

Barn Window, The. 

Bells of Shandon, The. 

Bible Reading. 

Brought to Trial for Bio win' 
(Dialogue). 

Buck Fanshaw's Fune- 
ral. 

Cassius against Caesar. 

Char-co-o-al. 

Charity. 

Choosing (Dialogue). 

Christmas Carol, A. 

Christmas Eve (Panto- 
mime). 

Courtship Under Difficul- 
ties (Dialogue). 

Darius Green and his Fly- 
ing Machine. 

Death of Eva. 

Demagogue, The. 

Do ws Flat, 1856. 

Dutchman's Speech at An 
Institute, A. 

the West One, 



Debate (Dia- 



East and 

The. 
Egyptian 

Y6gue). 
Excelsior, 
father in Heaven. 
First Appearance in Type. 



Flower (Flour) Girl (Tab- 
leau). 

Ghosts, The. 

Go It Alone. 

Hallowed be Thy Name 
(Tableau). 

Hamlet's Soliloquy. 

Hezekiah Bedott. 

High Tide ; or, The Brides 
of Enderby. 

How Mr. Coville Counted 
the Shingles. 

Isaiah XXXV. 

Johnny's Opinion of Grand- 
mothers. 

Liberty and Union. 

Lochinvar's Ride. 

May Queen — Conclusion, 
The. 

Miss Maloney on the Chi- 
nese Question. 

Mr. Coville on Danbury. 

Month of Mars, The. 

Morning, Noon and Night 
(Dialogue). 

Nature of True Eloquence, 
The. 

New Church Organ, The. 

New Year's Address. A. 

North American Indians. 

Old Man in the Model 
Church, The. 



Old and Blind. 

Only a Boy. 

Oratory and the Press. 

Over the Hill to the Poo*. 

house. 
Playing Singing-Sehoel 

(Dialogue). 
Polish Boy, The. 
Puzzled Dutchman, The. 
Red Jacket, The. 
Robinson Crusoe. 
Rogers' Groups (Tableaux). 
Romance of Nick Vam 

Stann, The. 
Rum's Maniac. 
Scripture Tableaux. 
Sixty-four and Sixty-five. 
Socrates Snooks. 
Soldier's Reprieve, The. 
Spanish Armada, The. 
Three Fishers, The (Talv- 

leau). 
Trial Scene — Merchant of 

Venice (Dialogue). 
Twenty -third Psalm, The. 
Washington as a Civilian. 
Where Shall the Baby's 

Dimple be? 
Wolsey's Fall. 
Yarn of the Nancv Bell, 

The. 
Youii£ Scholar, The. 



M I have used the numbers of the Elocutionist's Annual for foui 
years, and have found it the best collection of standard pieces, 

both for my own reading and for the use of my pupils, that I have 
ever seen."— Prof. J. M. Gillam, Instructor in Elocution in Illinois 
Wesleyan University, Bloomington, Illinois. 



CONTENTS OF No. 3. 



Adoon the Lane. 

American Flag, The. 

Baby's First Tooth, The. 

Bardell and Pickwick. 

Baron's Last Banquet, The. 

Battle of Beal' an Duine. 

Blindness. 

Burning Ship, The. 

Charlie Machree. 

Christmas Hymn. 

Christmas -Tide (Dialogue). 

Closing Year, The. 

Cinderella's Slipper (Ta- 
bleau). 

Cynic, The. 

Despair is Never Quite De- 
spair. 

Eagle's Rock, The. 

Famine, The. 

Female Gossip. 

Goodness and Greatness of 
God. 

Good-Night, Papa. 

Haunted House, The. 

Hypochondriac, The. 



If I should Die To- Night. 
Indian Chief to the White 

Settler, The. 
Inquiry, The. 
Jack and Gill. 
Kit Carson's Ride. 
Laughin' in Meetin'. 
Lides to Bary Jade. 
Little Goldenhair. 
Lost and Found. 
Maud Muller. 
Monster Cannon, The. 
National Monument to 

Washington. 
Negro Prayer. 
Old Forsaken School- house, 

The. 
Painter of Seville, The. 
Parrhasius and the Captive. 
Parting Hymn. 
Passing Away. 
Poor Little Jim. 
Power of Habit, The. 
Promise, The. 
Pulpit Oratory. 



Quarrel of Brutus and Cat- 
sius (Dialogue). 

Reaching the Early Train. 

Reply to Mr. Corry. 

Reverie in Church. 

Rock of Ages. 

Scripture Scenes (Ta- 
bleaux). 

Senator's Dilemma, The. 

Seven Ages of Man. 

Signs and Omens. 

Song of Moses. 

Song of the Sea. 

Songs of Seven (Dialogue). 

Tell on his Native Hills. 

Three Fishers, The. 

Train to Mauro, The (Dia- 
logue). 

Trust in God. 

Two Glasses, The. 

Vagabonds, The. 

Wax-Work. 

Welcome to Summer, A. 

Woman. 

W aiting for the Children. 



CONTENTS OF No. 

A Man's a Man, for a' That. Deacon Munroe's Story. 



Age. 

Angels of Buena Vista, The. 

Annuity, The. 

Appeal to the Sextant for 
Air, An. 

Aunt Kindly. 

Baggage- Smasher, Ye. 

Battle of Bunker's Hill, The 

Battle Hymn of the Repub- 
lic. 

Black Horse and his Rider, 
The. 

Bridal Wine Cup, The (Di- 
alogue). 

Burning Pjairie, The. 

Cause of Temperance, The. 

Centennial Oration. 

Christmas Sheaf, The. 

Clarence's Dream. 

Columbia's Centennial Par- 
ty (Dialogue). 

Columbia. 

Contentment. 

Surfew Must Not Ring To- 
Night 



Dead Church, The. 

Declaration of Independ- 
ence. 

Dora. 

Dot Lambs vot Mary Haf 
Got. 

Faith and Reason. 

Fire, The. 

Gambler's Wife, The. 

Ghost, The. 

Grandmother's Story. 

Great Beef Contract, The. 

How a Married Man Sews 
on a Button. 

Judge Pitman on Various 
Kinds of Weather. 

Kentucky Belle. 

Leap-Year Wooing, A. 

Love Your Neighbor as 
Yourself. 

Maiden's Last Farewell, 
The. 

Mark Antony Scene (Dia- 
logue). 

Modest Wit, A. 



Negro Prayer, A. 

No God. 

Ode to the Deity. 

Ode to Independence Hall, 
An. 

Ode to the Legislature. 

Our Own. 

Paul Revere's Ride. 

Quarrel of Squire Bull and 
his Son Jonathan, The. 

Rationalistic Chicken, The. 

Raven, The. 

Remember Now thy Cre- 
ator. 

Rest. 

Revelation XXII. 

Rienzi's Address. 

Rival Speakers, The (Dia- 
logue). 

Spirit of 76 (Tableau). 

Tommy Taft. 

Tribute to Washington. 

Union, The. 

What the Old Man Said. 

Yankee's Stratagem, Th« 

, (Dialogue). 



From ihe Transcript, Portland, Maine. 

•"These selections evince correct taste and furnish the amateM 

reader and the professional elocutionist with the widest range 

of subjects for occasions on which matters of that kind may b« 

needed." 



Ager, The. 

All that Glitters is not Gold 
(Dialogue). 

Archie Dean. 

Bannock-Barn. 

Betty Lee. 

Brave at Home, The. 

Bride of the Greek Isle, 
The. 

Brook, The. 

Budge's Version of the 
Flood. 

Catiline's Defiance. 

Centennial Hymn. 

Comin' Thro' the "Rye (Ta- 
bleau). 

Competing Railroads, The' 
(Dialogue). 

Corinthians, I, XV. 

Course of Love too Smooth, 
The. 

Dedication of Gettysburg 
Cemetery. 

Elder Mr. Waller's Senti- 
ments on Literary Com- 
position. 

Fairy -Land. 

Fashionable Singing. 

Flood of Years, The. 



CONTENTS OF Ho. 5 

[Good Reading. 
Hans and Fritz. 
He Giveth His Beloved 

Sleep. 
Heroes of the Land of 

Penn. 
How we Hunted a Mouse. 
John and Tibbie's Dispute. 
Lahore est Orare. 
Last Hymn, The. 
Leak in the Dyke, The. 
Listeners Hear no Good of 

Themselves (Tableau). 
Lost and Found, 
Magdalena ; or, The Span- 
ish Duel. 
Maiden Martyr, The. 
Man Wants but Little Here 

Below. 
Man's Ingratitude. 
Membranous Croup and the 

McWilliamses. 
Moral Effects of Intemper 

ance. 
Morning. 
My Trundle-Bed. 
Old Ironsides. 
Once Upon a Time. 
Only a Baby. 



Over the Hills and F* 
Away. 

Parthenia (Dialogue). 

Prisoner of Chillon, The. 

Prince Henry and FalstaH 
(Dialogue). 

Puritans, The. 

Ready for a Kiss. 

Regret. 

Samantha Smith become! 
Josiah Allen's "Wife. 

Saracen Brothers (Dia- 
logue). 

Schoolmaster's Guests, The, 

Song of Birds. 

Swell's Soliloquy, The. 

Southland. 

Summer Friends. 

Swallowing a Fly. 

To a Skull. 

Tramp, Tramp, Tramp. 

True Contentment. 

Uncle Daniel's Introduc- 
tion to a Mississippi 
Steamer. 

Vaudois Missionary, The. 

Where is Papa To-Night. 

Why Biddie and Pat Mar- 
ried. 



CONTENTS OF No. 



Artemus Ward's London 

Lecture. 
Asleep at the Switch 
Ave Maria. 
Battle of Ivry, The. 
Bob-o'-link. 
Bridge of Sighs, The. 
Brother Anderson's Oev- 

mon. 
Cane-Bottomed Chair, The. 
Children's Hour, The. 
Cool Reason (Dialogue). 
Dagger Scene, The. 
Day at Niagara, A. 
Deserted House, The. 
Doctor Marigold. 
Dukite Snake, The. 
Easter Morning. 
Edith Helps Things Along. 
Eve and the Serpent. 
Extract from "The Last 

Days of Herculaneum, 



Father Phil's Collection. 
From the Tragedy of King 

John (Dialogue). 
Fruits of Labor, The. 
Getting Under Way. 
Gradatim. 
Green- Mountain Justice, 

The. 
Hard Shave, A (Tableau). 
Hatchet Story. 
Ho ! Every One that Thirst- 

eth! 
Home Song. 
Jane Conquest. 
Jennie M'Neal's Ride. 
Little Allie. 
Malibran and the Young 

Musician. 
Mary Stuart (Dialogue). 
My Country, 'tis of Thee. 
Nae Luck Aboot the House. 
Niagara. 



6. 

| Old Sergeant, The. 
Oratory. 

Organ Creations. 
Palmetto and the Pine, The. 
Professor Puzzled, The 

(Dialogue). 
Relentless Time. 
Satan and the Grog-sen'er, 
School "Called." 
Song of the Crickets, The. 
Songs in the Night. 
St. John the Aged. 
Thanatopsis. 
Thanksgiving, A. 
To a Friend. 
Tom. 
Tribute to East Tenne 

A. 
Valley Forge. 
Washington (Tablea*). 
Sekle. 



Prof. George P. Beard, Principal South-western State Normal School, 
California, Pa., says: "The Elocutionist's Annual is largely used 
by students of this school for choice selections for public recitation 
and class-reading. They are admirably adapted to the practi- 
cal work of elocution." 



CONTENTS OF No. 7. 



American War, The. 

Auld Lang Syne. 

Books. 

Builders, The. 

Care of God, The. 

Crescent and the Cross,The. 

Cuddle Doon. 

Daisy's Faith. 

Death of the Old Year, The. 

Death of Nelson, The. 

Death of the Old Squire, 
The. 

Early Christmas Morning. 

Fair Play for Women. 

Farmer's Life, The. 

Glove and the Lions, The. 

Gray Honors the Blue, The. 

Hamlet, Act II., Scene 2 
(Dialogue). 

Hannah Binding Shoes. 

Henry the Fifth at Har- 
fleur. 

How Tom Sawyer White- 
washed his Fence. 



Leper, The. 

Light- house May. 

Lochiel's Warning (Dia- 
logue). 

Longing. 

Masters of the Situation. 

Master's Touch, The. 

Marco Bozzaris. 

Milking-Time. 

Mine Katrine. 

Model Discourse, A. 

Mont Blanc before Sunrise. 

My Minde to Me a King- 
dom Is. 

Night After Christmas, The. 

Night Before Christmas, 
The. 

Old Grimes. 

Old Robin. 

Our Minister's Sermon. 

Our Traveled Parson. 

Owl Critic, The. 

Parody, A. 

Paradise. 



Paul before King Agrippa. 
Reflections on Westminster 

Abbey. 
Royal Princess, A. 
Saving Mission of Infancy, 

The. 
Selling the Farm. 
Shakspearian Burlesque 

(Dialogue). 
Sheriff Thome. 
Ship of Faith, The. 
Sister and I. 
South Wind, The. 
Surly Tim's Trouble. 
Tableaux from Cotter'* Sat* 

urday Night. 
That Hired Girl. 
Tired Mothers. 
Tom's Little Star. 
Village Blacksmith, The. 
Voice in the Twilight, The- 
Woman's Rights (Dialogue) 
Wounded Soldier, The* 



CONTENTS OF No. 8. 



After Death. 

American Specimen, An. 

Arrow and the Song, The. 

Bald-headed Man, The. 

Bay Billy. 

Beecher on Eggs. 

Better in the Morning. 

Bessie Kendrick's Journey. 

Blue Sky Somewhere. 

Carl. 

Character of Washington, 

The. 
Child Musician, The. 
Christmas Carol, A. 
Coney Island Down der 

Pay. 
Defence of Lucknow, The. 
Emigrant's Story, The. 
Enoch Arden. 
Everlasting Memorial, The. 
Fire- Bell's Story, The. 
First Quarrel The. 
Gran'ma Al'as Does. 
Harvesters, The (Tableau). 
Her Letter. 



How Ruby Played. 

In the Garret. 

International Episode, An. 

King's Missive, 1661, The. 

Leap Year in the Village 
with One Gentleman (Di- 
alogue). 

Lesson, The. 

Little Feet. 

Monk in his Cell, A (Ta- 
bleau). 

Mrs. Mac Williams and the 
Lightning. 

Nations and Humanity. 

Nebuchadnezzar. 

"N" for Nannie and "B" 
for Ben. 

Nun at her Devotions, A 
(Tableau), 

Old Folks. 

Ophelia (Tableau). 

Order for a Picture, An. 

Over the Hill from the 
Poorhouse. 

Peace in God. 



Philosophy of Laughter. 

Practical Young Woman, 
A. 

Psalm XC. 

Reckoning with the Old 
Year. 

Reply to Hayne. 

Rest. 

Rivals, The (Dialogue). 

Scene from Leah the For- 
saken. 

Setting a Hen. 

Sioux Chief's Daughter, 
The. 

Slander. 

Song of Steam, The. 

Stage -Struck (Dialogue). 

Statue in Clay, The. 

Tale of the Yorkshire Coast, 
A. 

Temperance Question, The. 

There's No Rose Without ■% 
Thorn (Tableau). 

Undine (Tableau). 

Vashti. 



* This series is designed as a receptacle into which shall fall yeai 
jy year the newest and best reading's of the elocutionists of the 
country. A few of the old standard pieces are always intermixed with 
the newest, thus making the Elocutionist's Annual a compact and 
convenient manual and a thing of merit." — Intelligencer, Doyle* 
town, Pa, 



CONTENTS OF No. 9. 



Aged Stranger, The. 

Awfully Lovely Philosophy. 

Baby's Visitor. 

Baby's Kiss, The. 

Bertha in the Lane. 

Births. Mrs. Meeks, of a 
Son. 

Brier Rose. 

Bumboat Woman's Story, 
The. 

Child on the Judgment- 
Seat, The. 

Christmas Ballad, A. 

Combat between Fitz- 
James and Roderick 
Dhu (Dialogue). 

Connor. 

Death of Minnehaha (Ta 
bleau). 

Fisherman's Wife, The. 

First Party, The. 

Gypsy Fortune-Teller (Ta- 
bleau). 

Hamlet, Act III., Scene 4 
(Dialogue). 



Henry Fifth's Wooing (Dia- 
logue). 

Horatius. 

Ideal, The. 

I Was with Grant. 

Lady of Lyons, Scene from 
(Dialogue). 

Last Prayer of Mary, Queen 
of Scots. 

Lookout Mountain. 

Master Johnny's Next-Door 
Neighbor. 

Maud Muller (Tableau). 

Mine Vamily. 

Mrs. Walker's Betsy. 

Mrs. Ward's Visit to the 
Prince. 

National Ensign, The. 

Only. 

Palace o' the King, The. 

Paul at Athens. 

Potency of English Words. 

Pwize Spwing Poem. 

Queen Mary, Act V., Scene 
5 (Dialogue;. 



River, The. 

Rover's Petition. 

Sailing of King Olaf, The. 

Sam's Letter. 

School Begins To-day. 

Selling the Farm. 

Sometime. 

Song of the Camp, The. 

St. George and the Drag* 

on. 
Terpsichore in the Flal 

Creek Quarters. 
Then and Now. 
Thoughts for a New Year. 
Tribute to Washington. 
Truth of Truths, The. 
Unnoticed and Unhonore.?/ 

Heroes. 
White Squall, The. 
Widow and Her Son, The. 
William Goetz. 
World, The. 
Words of Strength. 
Yorkshire Cobbler, The„ 



CONTENTS OF No. lO. 



Be as Thorough as You Can 

Balaklava. 

Blind Lamb, The. 

Caught in the Quicksand. 

Chimney's Melody, The. 

Chickamauga. 

Despair. 

Drifting. 

Dick Johnson's Picture. 

Death of Roland, The. 

Dot Baby off Mine. 

Eulogy on Garfield. 

Frenchman on Macbeth, 

A. 
Herve Kiel. 

Irrepressible Boy, The. 
Job XXVIII. 
Jamie. 

Law of Death, The. 
Little Rocket's Christmas. 
Larrie O'Dee. 
Little Dora's Soliloquy. 
IiMt Charge of Ney. 



Lost Found, The. 

Mick Tandy's Revenge. 

Macbeth and the Witches 
(Dialogue). 

Mother of the Grachii, The 
(Tableau). 

Nay, I'll Stay with the Lad. 

New England's Chevy- 
Chase. 

Old Year and the New, The. 

Phantom Ship, The. 

Quarrel between Sir Peter 
and Lady Teazle (Dia- 
logue). 

Rev. Gabe Tucker's Re- 
marks. 

Railway Matinee, A. 

Rizpah. 

Reveries of a Bachelor (Ta- 
bleau"). 

Reminiscence of Exhibi- 
tion Day. 

Shriving of Guinevere, The. 



Schoolmaster Beaten, The. 

Sympathy. 

Sky, The. 

School Statistics. 

Scene from Damon and 
Pythias (Dialogue). 

Snow-Birds (Tableau). 

Tilghman's Ride. 

Theology in the Quarters. 

To the Susvivors of the Bai- 
tle of Bunker Hill. 

Till Death Us Join. 

Tammy's Prize. 

Tragedy, The. 

True Story of Little Boy 
Blue, The. 

Two Blind Beggars (Ta- 
bleau). 

Village Choir, The (Ta- 
bleau). 

Washington Hawkins Dinat 
with Col. Sellers. 

Wayside Inn, The. 



Dr. J. H. Luther, President Baylor College, Independence, Texas, says , 
*i regard this series as the best published for this department of coW 
lege study. The Annuals are specially valuable as sustaining- th+ 
interest of the pupil and widening her knowledge of our best 
authors.** 



CONTENTS OF No. 



Apostrophe to the Ocean. 
Arctic Aurora, An. 
Ballet Girl, The. 
Bobolink, The. 
Catching the Colt. 
Child Martyr, The. 
Clown's Baby, The. 
Convict's Soliloquy 



Kight before Execution 
The. 

Beath of Little Paul Bom- 
bey. 

Becoration Bay. 

Butchman's Snake, The. 

Echo and the Ferry. 

Execution of Queen Mary. 

Finished. 

Flash— the Fireman's Sto- 
ry. 

Foxes' Tails; or, Sandy Mac- 
donald's Signal, The. 

Freckled -faced Girl, The. 

Front Gate, The. 

Froward Buster, T/ie. 

GarLfcid at the Wl .eel. 

Grandmother's Apology, 



Her Name. 

Jerry. 

Joan of Arc at the Stake 

(Tableau). 
Knowledge and Wisdom. 
Life's Loom. 
Lisping Lover, The. 
the Little Boy's Valentine, A. 



Little Gottlieb s Christmas. 

Mice at Play. 

Model American Girl, The. 

Modern Facilities for Evan- 
gelizing the World. 

Mona's Waters. 

Naomi and Her Baughters- 
in-Law (Tableau). 

New Slate, The. 

Nicodemus Bodge. 

No Kiss. 

Old Year and the New, The. 

One Flower for Nell v. 

Parson's Fee; or, The Bag 
of Beans, The (Tableau). 

Possible Consequences of a 
Comet Striking the Earth 
in the Pre-glacial Period. 

Prospects of the Republic. 



CONTENTS OF No. 


Aunty Bolefal's Visit. 


Felon's Cell, A. 


Aux Italiens. 


Fly's Cogitations, A. 


Ballad of Cassandra Brown, 


God's Love to Man. 


The. 


Good-Bye. 


Battle Flag at Shenandoah, 


Grace of Fidelity, The. 


The. 


How Girls Study. 


Bell of Zanora, The. 


How the Gospel came to 


Bells, The. 


Jim Oaks. 


Bells Across the Snow. 


Industry Necessary to the 


Beyond the Mississippi. 


Attainment of Eloquence. 


Bishop's Visit. The. 


Innocence. 


Blind Poet's Wife, The. 


Interviewing Mrs. Pratt. 


Book Can vasser. The. 


I would'na Gie a Copper 


Brother's Tribute, A. 


Plack. 


Convention of Realistic 


Jesus, Lover of my Soul. 


Readers. 


Jimmy Brown's Steam 


Country School, The. 


Chair. 


Biscontentment. 


Lasca. 


Bude, The. 


Legend of the Beautiful, 


Buelist's Victory, The. 


The. 


Earnest Views of Life. 


Life's Story. 


Easter-Tide Beliverance, 


Lincoln's Last Bream. 


A. B. 439. 


Luther. 


Engineers Making Love, 


Magic Buttons. 


Tho. 


Maister an* the Bairns, The. 


Fall of Pemberton Mill, 


Malaria 


The. 


Man's Mortality* 



11. 

Queen Vashti's Lament. 

Rock Me to Sleep. 

Romance of a Hammock. . 

Shadow of Boom, The. 

Song of the Mystic. 

Speeches of Zenobia an£ 
her Council in Reference 
to the Anticipated War 
with Rome (Bialogue). 

Sunday Fishin'. 

Supposed Speech of John 
Adams on the Beclaration 
of Independence. 

Telephonic Conversation. A. 

This Side und That. 

Thora. 

Ticket o' Leave. 

Trial of Fing Wing (Bia- 
logue). 

Tribute to Sir Waiter Scott, 
A. 

Wedding of Shan Maclear, 
The. 

Where's Annette? 

Winter in the Lap ' 
Spring (Tableau). 

Wonders of Genealogy,Th* 

12. 

Mine Schildhood. 

Newsboy's Bebt, The. 

Old Book, That. 

Old Letter. 

Over the Orchard Fence. 

Pantomime, A. 

Poor- House Nan. 

Popular Science Catechism. 

Power of the Tongue, The. 

Psalm Book in the Garret, 

The. 
Receiving Calls. 
Santa Claus in the Mine*. 
Serenade, The. 
She Cut his Hair. 
Skeleton's Story, The. 
Story of Chinese Love, A. 
Tarrytown Romance, A. 
Teddy McGuire and Padq?' 

O'Flynn. 
Temperance. 
Ter'ble 'Sperience, A. 
Total Annihilation. 
Trying to be Literal?- 
Wave, The. 
Wendell Phillips* 
Yosemite. 



*7~* EACHERS everywhere complain of the difficulty in creating 
CC) an interest in the subject of reading. Pupils soon search 
out all in the regular text-books that is adapted to their tastes 
or their years, and dislrke a repetition as much as they do tho 
reading of that which they cannot comprehend, or in which they 
feel no interest. The Elocutionist's Annual will be found a most 
valuable adjunct, supplying at once the freshest and most enjoyable 
readings, containing selections adapted to every variety of taste, 
affording the most abundant opportunity for vocal drill, from the 
loudest and boldest declamation to the tenderest and most delicate 
shades of pathos and emotion, and including such a wide range of 
topics as to leave no ordinary occasion of life without a fitting 
representative. 

AVHOICE READING FOR THE HOME CIRCLE, adapted 
\6) alike to the young, the middle-aged, and the old, will be 
found in each number of the series. Pleasant and varied 
pen pictures of Home Life, the most delicate and truthful portrayals 
of domestic scenes, whether in country or city, among the rich or 
the poor, are carefully treasured here. The yearly volumes of the 
Elocutionist's Annual will constitute a valuable addition to the 
Home Library. 

^"*HE AMATEUR READER requires the most popular pro, 
\(*) ductions of the times, combined with the greatest possible 
range of selections in adaptation to particular days, seasons 
and events. He must have something appropriate to Christmas, 
New Year, Washington's Birthday, Fourth of July, Thanksgiving; 
to Anniversaries, Church Sociables, Sunday-School Entertainments; 
Educational, Temperance and Political Meetings, School Exhi- 
bitions, Lyceums and Literary Societies, Family, School and Class 
Reunions, and to gatherings of every conceivable character. He 
will find it convenient to have all that he may need for public 
purposes contained within two or three small volumes, instead of 
having to carry a number of large books, as he is now frequently 
compelled to do. He will also find it of great advantage to have 
the printed page clear and strong, so that he may readily see his 
matter even by a poor light. The Elocutionist's Annual is designed 
to meet fully all of these wants. 

Y^ HE PROFESSIONAL ELOCUTIONIST needs all that 
\C) the Amateur Reader needs, and more. He must have 
selections giving abundant and varied exercises, not only in 
pathos, eloquence, tragedy and humor, but also in the different 
qualities of voice, in articulation, accent, emphasis, slur, inflection, 
quantity, pauses, — in short, he must afford opportunity for the 
highest exercise of that instrument whose capabilities are almost 
unlimited. This series, being carefully prepared by the most suc- 
cessful Elocutionists of the country, and adapted no Irsst r> their own 
wants than to those of the general public, will, by reason of its 
authorship, be of greater practical value to the Professional Elocu- 
tionist. 



mm®tM%Tm\ 



IN addition to our own publications herein mentioned, 
we make a specialty of supplying works relating 
to Elocution and Oratory, either in quantity or 
single copies. Orders for books upon any subject will 
receive our prompt attention and be filled upon most 
favorable terms. 

For some time past we have felt the necessity of 
effecting an arrangement whereby we could supply the 
constant and increasing demand for 



Special £ (Selection 



It gives us great pleasure to announce that w€ uow 
have facilities for filling this long-felt want. Selec ta>ns 
are frequently read in public which please the audience 
and lead them to desire a copy, but not being personally 
acquainted with the reader, and knowing neither the 
author nor the publisher, they are at a loss to know how 
to proceed to obtain it. In most case? if the title be 
given us, or a short description of the selection, we can 
send the name and cost of the book in which the selec- 
tion is found ; and upon receipt of price, we will for* 
ward a copy of the work. 

2 




HUMOR-PA1HOS-ELOQUENCE. 



VOLUMES 1. 2, 3, 4, ETC. 

Designed for Public and Social Entertainment, 
and for use in Schools and Colleges. 

EDITED BY 

J. W. SHOEMAKER, A. M., 
Late President of the National School of Elocution and Oratory ', 

AND MRS. J. W. SHOEMAKER, Vice-President. 

Yo/ume 1 consists of Numbers One, Two and Three, 
Volume 2 of Four, Five and Six, 

Volume 3 of Seven, Eight and Nine, and 
Volume 4 of Ten, Eleven and Twelve of the Elocutionist's Annual. 

They contain 6oo large i2mo pages each, on excellent paper, 
In clear, open-faced type, easy to read, substantially bound, and 
are so arranged with Indexes of Selections, Authors, etc., as 
to make them not only the most valuable collections of Choice 
Readings ever published, but the most complete as books of Ready 
Reference. 

Retail Prices, Per Volume, Postpaid. 

Cloth Edition, $1.50; Green and Gold Edition, $2.00; Turkey 
Morocco Edition, $2.50. Liberal discount on large orders. To 
Schools, Colleges, etc., a special discount will be made upon the 
first supply. 

An Oration by Rev. Henry Ward Beecher, delivered before the 
National School of Elocution and Oratory, May 29th 1876. Large, 
clear type, limp Cloth, with fac-simile of author's signature, post- 
paid, 25 cents. 

White {Sunlight of Potent Vvosds. 

An oration by Rev. John S. Macintosh, D. D. Delivered before 
the National School of Elocution and Oratory, June 15th, 1881. 
Postpaid, Cloth, 25 cents. Sold by all Booksellers, or by 

National School of Elocution and Oratory, Publishers, 

Publication Department, 

Ohas. C- Shoemaker. Manager. _ PHILADELPHIA* 



EXTEMPORE SPEECH, 

HOW TO ACQUIRE AND PRACTICE IT, 

BY REV, WILLIAM PITTENGER, 

Author of " Oratory \" 



A TIMELY WORK ON A VITAL TOPIC. 



^* HIS new book deals with a subject of deep interest io all whj 
have occasion to speak in public. It therefore appeals 
**■ not only to those who are connected with the affairs of 
Government-National, State and Municipal— but 
also-to members of Boards of Education, of Public Institu- 
tions, of Public Works, of Exchange, of Finance, to 
Officers and Directors of Railroads, Banks, Insur- 
ance and other Companies, and to all who have plans to 
present and opinions to express upon current questions, and who 
desire to so marshal their thoughts and words as to carry conviction 
t;o the minds of their. hearers and advance the cause advocated by 
the speaker. 

While the different modes of speech are fully described, and the 
special merits of other forms of address are clearly pointed out, the 
particular object of this book is to show how a man of average 
ability may learn to speak extemporaneously with 
ease and certainty. Mere generalities are discarded, while 
all those little details of practical work which the theorist overlooks 
are made prominent. Some parts of the work are simple 
enough to be comprehended by a school-boy, and 
may be applied by him in his first efforts; other parts may be 
read with profit by trie orator already in the maturity oi 
his powers. 

Not every man may become a Clay or a Webster, yet whoevei 
follows the directions here given may feel assured that he is' on 
the high-road to the greatest success within the reach 
of his faculties. 

275 Pages, Handsomely Tioirnd, Cloth, - - $1.25 



For sale by all Booksellers and Newsdealers, or will be sent 
fjostpaid, upon receipt of price. Liberal discount in quantity. 

National School of Elocution and Oratory, Publishers, 

Cmas. O. Sholmakiik. Mamaqer. PHILADELPHIA* 



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